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Full text of "The dramatic lists : a record of the performances of living actors and actresses of the British stage"

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^^7 7 




Joseph Whitmore Barry 
dramatic library 


OF Cornell University 






1 — 



>- ;y MR . 







Cornell University 

The original of tliis book is in 
tine Cornell University Library. 

There are no known copyright restrictions in 
the United States on the use of the text. 











Cornell University Library 

PN 2597.P28 1880 

Dramatic lists : 

3 1924 027 117 898 



6, Bookseller's Row 


^ADDIS.ON. CARLOTTA ( Mrs. Charles A. La Trobe), 
younger daughter ol the late Edward Phillips Addison, comedian, 
was born in Liverpool, July 1849. S he was educated bv her father 
_for_the^^atic profession, and as a_chjM_ElaYed_in_K££y-imienile 
partslirfKe"Liverpool"AmphitheatFe. Miss Carlotta Addison made 
her dSui on the London stage Saturday, October 5, 1866, at the 
•St. James's Theatre, under Miss Herbert's management, as Lady 
F. Touchwood, in a revival of 'The Belle's Stratagem.' Subse- 
quently having joined the company of the New Royalty Theatre, in 
February 1868, Miss Addison played there the part of Jessie Bell 
in a three-act drama by Halliday, entitled 'Daddy Grey.' This 
was the first part of decided importance that this actress had 
sustained in London, and indeed more responsible than any of 
the others, inasmuch as Jessie happens to be the central figure of 
every situation, and the object of universal sympathy throughout 
the play. Miss Addison showed herself fully equal to the occa- 
sion : good speaking, graceful action, pathos, almost tragic but 
unexaggerated, were noticeable in her impersonation, while she 
never passed the limits proper to a simple country girl of Jessie's 
rank in life. 

In 1868 Miss Carlotta Addison joined Mr. and Mrs. Bancroft's 
company at the Prince of Wales's Theatre, and^nThat year, tn "a " 
revival of T. W. Robertson's play ' Society,' sustained the part of 
Maud Hetherington. At the same theatre, Saturday, January 16, 
1869, first performance of T. W. Robertson's comedy entitled 
' School,' the part of Bella was sustained by Miss Carlotta Addison, 
" who in showing the good qualities of the pupil-teacher revealed 
some rare excellencies of the actress. There was not the slightest 
exaggeration in the display of her emotion, and the exquisite love 
scene in the third act, so full of purity and tenderness, owed much 
of its effect to the discreetly subdued style in which it was acted 
by Miss Addison and Mr. H. J. Montague." {Daily Telegraph, 
January 25, 1869.) On Saturday, April 23 of the following year, 
she sustained the part of Ruth Daybrooke in the same author's 
comedy entitled ' M.P.,' then first performed at the Prince of 
Wales's Theatre. After fulfilling an engagement at the Gaiety 



Theatre, on Saturday, October 7, 187 1, Miss Carlotta Addison 
appeared at the Globe Theatre in a leading role {Fanny SmitK), 
first performance of H. J. Byron's comedy ' Partners for Life.' On 
the 9th of March, 1872, first performance at the same theatre of 
Albery's play ' Forgiven,' she sustained the part of Mrs. Redriithj 
and in the same year, at the same theatre, Mrs. Cuthbert, in a 
revival of H. J. Byron's comedy ' Cyril's Success.' In February 
1873, first performance at the same theatre of Mr. Albery's comedy 
' Oriana,' Miss C. Addison acted the part of Peep with great suc- 
cess. The play itself proved unattractive, but Miss Addison's 
acting in it received unqualified praise. In April 1S75, iii ^ re- 
vival of ' The Merchant of Venice ' at the Prince of Wales's Theatre, 
which proved unsuccessful, though for the most part carefully acted 
and well put on the stage, she sustained the part of Nerissaj and 
in October of the same year played the heroine, Ethel Grainger, yo. 
Byron's comedy ' Married in Haste,' produced on Saturday, the 
2nd of that month, at the Haymarket Theatre. A contemporary 
journal {Athencettm, October 9, 1875) remarked of this performance 
that Miss Carlotta Addison, as the heroine, had made a distinct 
stride in her profession. So concentrated and intense was the 
manner in which she displayed feeling, without going outside the 
bounds of social custom, that a high position might reasonably be ■ 
predicted for her as an exponent of realistic drama. 

Since her marriage, in September 1876, Miss Carlotta Addison 
has rarely appeared on the stage. At the Prince of Wales's 
Theatre, in 1877, she played Grace Harkaway, in a revival of 
'London Assurance'; and at the Haymarket Theatre on Thurs- 
day, October 3, 1878, appeared as Julia in a revival of 'The 

ADDISON, FANNY (Mrs. H. M. Pitt), elder daughter of 
the late Edward Phillips Addison, comedian, and sister of the 
above-named Carlotta Addison, was born in Birmingham De- 
cember 1847. She was educated by her father for the stage in 
childhood, and acted frequently at the Doncaster Theatre in 
children's parts in the intervals between school vacations. At 
the age of fifteen Miss Addison commenced work in earnest at the 
Theatre Royal and Amphitheatre in Liverpool. She subsequently 
accepted an engagement as "leading lady," first at the Newcastle- 
on-Tyne Theatre Royal, and subsequently at the Bath and Bristol 
Theatres. She made her first appearance in London, Mondav 
November 19, 1866, at Her Majesty's Theatre in Falconer's drama 
entitled ' Oonagh.' The part which Miss Fanny Addison sus- 
tamed m the play was carefully acted, and received very favour- 
able notice from the press. (See, especially, the Morning- Star 
November 22, ib66.) The play itself was withdrawn after but 
few representations. On Thursday, October 24, 1867, on the 
occasion of the opening of the New Queen's Theatre, Lon°- Acre 
London (now relegated to other uses'). Miss Addison played the 
part of Joseplune de Beaurepaire, in the first performance of 
' The Double Marriage ' (Charles Reade), founded on that author's 


story of ' White Lies.' In this play Miss Fanny Addison gave a 
fine and passionate representation of the heroine. Some portions of 
her acting were intensely tragic, and all of it was excellent. 

In October 1868 Miss Addison appeared at Drury Lane Theatre 
in Halliday's drama ' King o' Scots,' performing the part of 
Martha Trapbois with considerable effect. This actress's most 
important and successful London engagements have been as follows, 
^via..i-te L7?gJa Par tie in Halliday's 'L ittle Em'ly,' produced at the __ 
_01ym^i>>Theatre October 9, i869,Tjart which she su staSH 
with great force and earnestness. Her actmg was thus commented" 
upon in a London journal : "Thejiighest compliment that jcould__ 
bepaidto an artist was certainly paioTd Miss Addison. So'com- 
pletely did~sHe fdentifyVEefsen' with The,' t^rribl§-i?wn; Dartle, a53 '.. - 

so -vile and powerful was her' invective, that the audience, forgetting 

^tfae-ectriLeb)i dueTro a la:ay7tma~t>bllvious of '^lFcanon s■6f-C^naaIU-. 
~aLl^alIy hiisatid her oecatise she acted so g ,:ftremp1 y vtif}^ M ejiat: — 
" ~%assuch a paradox heard of. But it Va<; r^nt nnly .in the fi^^=ff— 
alfld unbridled passion that Miss Addison showe4J3.erse1f siir.h. 

"yjcoiliJUll'lUUte artist. -"I'heJi earTBroEeiraccents in which she 
tells the frightened girl of her~own love for Steerforth were exqui- 
sitely touching." {Weekly Dispatch, Oclohtx \'j,ii,i>()^ {2) Queen 
Elisabeth in the same author's play of ' Amy Robsart,' pro- 
duced at Drury Lane September 24, 1870; and (3) the Countess 
Danischeff in ' The Danischeffs,' produced at St. James's Theatre, 
January 6, 1877.' At intervals ' between her London engagements 
Miss Addison has played in the provinces as " star leading lady " 
of the so-called ' Two Roses,' the ' Caste,' and the Pitt-and-Hamilton 
Comedy Companies, of the latter of which her husband is joint 

AMALIA, MISS, burlesque actress, made her debut on the 
London stage at the Surrey Theatre, December 26, 1869, in the 
pantomime of ' St. George and the Dragon.' She subsequently 
played in other pantomimes, securing, conjointly with Miss Violet 
Cameron, the full honours of the evening on December 27, 1873, ^t 
Drury Lane Theatre, " for her acting and singing in a ballad called 
' Buttercup Green,' " introduced into the burlesque opening. More 
recently Miss Amalia has been engaged at the Gaiety, and has 
played in many of the extravaganzas of Mr. Byron on which that 
theatre^mainly, and for the most part profitably relies as its prin- 
cipal attraction. 

ANDERSON, JAMES R, was born in Glasgow, May 8, 181 1. 
In the early part of his professional career he " strolled " as a 
member of the company of the Theatre Royal, Edinburgh, under 
Mr. William Murray ; on the Nottingham Circuit with Mr. Tom 
Manly ; and as a member of the Theatre Royal, Newcastle-on- 
Tyne, Company with Mr. Sam Penley. Mr. Anderson was 
manager of the Leicester,- Glo'ster, and Cheltenham Theatres 
in 1834-5-6, and at the latter theatre first met Mr. William 

E 2 


Macready, who offered him an engagement. Mr. Anderson made 
his dihit in London 30th September, 1837, at the Theatre Royal, 
Covent Garden, under Mr. Macready's management, in the part 
of Florizel ('A Winter's Tale'), winning golden opinions for the 
ease and propriety of his demeanour and delivery. 

His next appearance was in 'The Novice,' a dramatic piece, 
which did not prove successful. The following year, May 23, 1838, 
Mr. Anderson played the part of Sir Valentine de Grey in an 
original drama by Sheridan Knowles, then for the first time per- 
formed at Covent Garden Theatre, entitled ' Woman's Wit ; or. 
Love's Disguises.' Thursday, March 7, 1839, at the same theatre, 
he personated Chevalier de Mauprat, on the occasion of the first 
performance of Lord Lytton's play of 'Richelieu' with Macready, 
Warde, Phelps, Howe, and Helen Faucit in the principal cha- 
racters. The performers exerted themselves so as to render selec- 
tion for praise impossible. " Each seemed in possession of, and 
able to realize, the character that was professedly personated. . . . 
The irritability, the extremes of feeling, the vivacity and the 
earnestness of De Maup?-at, were effectively presented by Mr. 
Anderson." {Morning Chronicle, March 8, 1839.) At the opening 
of Covent Garden Theatre under the Vestris-Mathews manage- 
ment, September 30, 1839, he played the part of Biron ('Love's 
Labour Lost') ; and on March 16, 1840, for the first time, the 
character of Romeo at the same theatre. In September of the same 
year Mr. Anderson acted Fernando, in the first performance of 
Sheridan Knowles's play 'John of Procida.' He was also the 
" original" Charles Courtly of ' London Assurance,' by Dion Bouci- 
cault, first performed at Covent Garden Theatre May 4, 1841. 
Notwithstanding the not too favourable criticisms of the London 
press, this play was one of the most signal successes of the "V'estris- 
Mathews management of that theatre. The Examiner, March 7, 
1 841, thus remarked upon the individual merits of the players 
in the original cast : " The degree of merit that appeared in the 
acting of the piece was a test of the incapacity of the actors 
for anything higher or better ; a melancholy exhibition of the state 
of the stage. We would except from this remark Mr. Anderson, 
whose part was unsuited to him ; Mr. Keeley, who is always an 
admirable comedian ; and we are surprised to find ourselves add 
Mr. Mathews." 

In January 1842 Mr. Anderson took part at Drury Lane Theatre 
in the opening performance which inaugurated Mr. Macready's 
management, sustaining the part of Bassanio ('Merchant of Venice'). 
During the month of February 1842 his name appeared in the 
original cast of Douglas Jerrold's comedy ' The Prisoners of War' ; 
and on the 23rd of the same month he played Titus Quintus 
Fulvius, in the drama of ' Gisippus ' (Gerald Griffin), at its first 
performance at the same theatre, Mr. Macready being in the title 
role. Mr. Anderson earned special praise for his performance 
in the last act. It was stated that his choking voice when he 
recognized the sword of Gisippus, and the horror that spread over 


his features and shuddered through his frame, as he staggered wildly 
off to rescue his friend, suggested much greater powers in Mr. 
Anderson than he had ever given any indication of before. He 
obtained repeated plaudits. 

Monday, May 23, 1842, was the closing night of Macready's first 
season at Drury Lane, and Mr. Anderson played Othello then for 
the first time. He had been a rising star ever since he made his 
first appearance at Covent Garden under Mr. Macready's manage- 
ment. Said the Tiiiies, May 24, 1842 : " Mr. Anderson's Othello 
last night was what might have been expected from him ; it was 
nranly, it was careful, it was eloquent. Probably no one could 
have delivered better the speech to the senate. Mr. Anderson has 
a good ear for rhythm and metre, he makes fewer slips than most 
of His colleagues, and this speech was beautifully spoken, with the 
calm dignity of the veteran soldier, and with a voice deepening 
into emotion as he came to the tale of love. The speech at the 
close of the tragedy, which terminates with Othello's death, the 
speech concluding with ' Othello's occupation's gone,' may likewise 
be cited as specimens of elocution, mournful and deeply impressive. 
.... The expression of countenance during the quieter stage of 
jealousy was well sustained ; it was a growing sorrow. . . . The 
first loud burst of anguish was effective — it was a startling con- 
trast ; and as the Moor sank exhausted into a chair, the audience 
rose into loud and repeated applause." 

During the season 1842-3, at Drury Lane (the second of Mr. 
Macready's management), Mr. Anderson played the following lead- 
ing parts, viz. Orlando in ' As You Like It ' ; Captain Absolute in 
'The Rivals'; Harry Dornton in 'The Road to Ruin'; Faulcon- 
bridge in ' King John' ; Posthu7nus in ' Cymbeline.' On February 
II, 1843, Mr. Browning's poetic melodrama 'A Blot on the 
Scutcheon' was first performed at Drury Lane, and Mr. Anderson 
sustained the character of Earl Mertoun; and on the 24th of April 
following, being the night of the first performance of Sheridan 
Knowles's ' The Secretary,' the title role. The following season, 
1843-4, Mr. Anderson was engaged at Covent Garden Theatre, 
playing Shakespearian characters alternately with Vandenhoff and 
Phelps, viz., Othello, lago, Cassio, &c. On October 20, 1845, ^.t a 
performance of Lord Lytton's play of ' The Lady of Lyons ' at the 
Haymarket Theatre, Mr. Anderson sustained the part of Claude 
Melnotte with care and tact ; " but his voice," said the AthencBum 
(November r, 1 845), " that once fine organ, seems irreparably ruined ; 
it is husky and guttural, and requires excessive watchfulness to 
prevent its becoming inarticulate." 

During the years 1846-7, and part of the year 1848, Mr. Ander- 
son fulfilled various engagements in the United States, opening in 
the part of Othello at the Park Theatre, New York. Returning 
to England in 1848 he made a professional tour of the provinces 
in the early part of 1849, in company with Miss Huddart (Mrs. 
Warner), acting with great success in Birmingham, Manchester, 
Liverpool, Dublin, Edinburgh, and Glasgow. Following this he 


became manager of the Theatre Royal, Drury Lane, and "opened" 
December 26, 1849, with Shakespeare's ' Merchant of Venice,' 
and the pantomime of ' Good Queen Bess,' in Mr. Anderson's 
opinion one of the best and most successful examples of this 
species of entertainment ever produced. Among his company 
were included Mr. Vandenhoff and Mrs. Nisbett. 

In the year 1850 Mr. Anderson produced various plays at Drury 
Lane Theatre, principally of the Shakespearian and poetic drama, 
—'As You Like It'; 'Othello'; 'The Hunchback'; Beaumont and 
Fletcher's ' The Elder Brother ; or. Love at First Sight '; Blanche's 
adaptation of Schiller's ' Fiesco,' &c. In the following year, on 
January 16, he produced an original comedy, 'The Old Love and 
the New ' (Sullivan), in which he played the part of Captain Sidney 
Courtoun. The piece was but a partial success. His next produc- 
tion, however, was a more profitable venture. It was a drama entitled 
' Azael, the Prodigal,' founded on M M. Scribe and Auber's ' L'Enfant 
Prodigue.' The English adaptation of this play, first performed at 
Drury Lane on Wednesday, February 19, 1851, is described in 
contemporary journals as " one of the most elaborately gorgeous 
exhibitions ever placed on the boards." It had a very successful 
run. Discussing its merits the AtliencEum of February 22, 1851, 
remarked : — " We are next taken to Memphis, with its Egyptian 
architecture and processions, and especially its temple of Isis, the 
interior of which is shown with jfll its grandeur and mystical rites, 
voluptuous and picturesque to the extreme point of tolerance. As 
-a splendid show the scene surpasses all examples of which we have 
any remembrance." Mr. Anderson played Azael, the son; Mr. 
Vandenhoff the part of Reuben, the father. In April, 1851, the 
bill was changed, and the management produced ' The Queen of 
Spades' (Boucicault), founded on a French piece, 'La Dame de 
Pique.' In June 1851 Mr. Anderson produced another successfiil 
play, which brought money to the treasury, viz., Lovell's ' Ingomar,' 
in which he sustained the title role. Although a considerable 
success, it was not, however, sufficient to retrieve the falling fortunes 
of the theatre ; and on the 24th of the same month Mr. Anderson 
retired from the management of Drury Lane Theatre. During the 
two seasons he had held the lesseeship the speculation had resulted 
in a loss of 9161/. The number of nights the theatre was open 
was 232 {Athenceum, July 26, 1851). 

Mr. Anderson now turned his attention to " starring," and down 
to the date of his retirement from the stage occupied himself with 
this more profitable and less speculative way of securing theatrical 
honours and pecuniary independence. He began his career as a 
" star " actor at the Britannia Theatre, under the management of 
Mr. Sam Lane, November 3, 1851. His first engagement here was 
made for six nights at 25/. a night. Afterwards he went to the City 
of London Theatre, and played a six-weeks' engagement at 80/. a 
week. In May 1852 Mr. Anderson returned to the Britannia 
Theatre for a four-weeks' engagement, concluded at the rate of 
100/. a week. These figures will enable the reader to judge of the 
remuneration at one time aiforded prominent actors by the'^London 


East-end Theatres.* In 1853 he fulfilled an engagement at the 
Strand Theatre, appearing there Monday, January 17, in a piece 
originally produced at the City of London Theatre, and written by 
one of its " stock " actors, by name John Wilkins, under the title 
'Civilization.' The play was founded on Voltaire's 'L'Ing&u,' 
and was a remarkable success. Mr. Anderson played in it the 
part of Hercule, an Indian of the Huron tribe. 

In the year 1853 Mr. Anderson again went to America, and 
opened at the old Broadway Theatre in New York. It was stated 
as an item of gossip {Athenaum, October 8, 1833, p. 1197), that 
this engagement was effected at 16,000/. for four years, to perform 
800 nights ; this sum not including travelUng expenses. Although 
Mr. Anderson was undoubtedly a great favourite in American 
cities, he was scarcely fortunate enough to realize these extra- 
ordinary terms, for in the year 1854 he had returned to England 
and was acting with "great success, for the most part in five-act 
tragedies," at the Standard Theatre, London. And he continued 
to perform at the same theatre, renamed the New National 
Standard Theatre, as a " star," with but few intervals of rest, down 
to November 1855. In November 1856 he revisited the United 
States, playing for some part of the time at Wallack's Theatre, 
New York; and again in 1858, and the year following, he went 
to America. He visited California, opening in San Francisco, 
March 9, 1859, in Hamlet, and playing 30 nights in that city; 
in Sacramento City he played 14 nights, and in Nevada City 
6 nights. Making a second short trip to San Francisco he re- 
turned to New York after six months' absence, having netted over 
$10,000. In 1863 Mr. Anderson joined Mr. Richard Shepherd as 
part manager at the Surrey Theatre, which was unfortunately 
destroyed by fire in February 1865. During this joint manage- 
ment Mr. Anderson produced his own stirring drama of 'The 
Scottish Chief,' which had a run of 80 nights, and Shakespeare's 
'Second Part of King Henry VI.' (the Wars of the Roses), which 
achieved a success of nearly 100 nights. This play had probably 
not been performed in England, until Mr. Anderson produced it, for 
a period of 200 years. The cast of the play is, as most persons are 
aware, very full, and all the actors at " the Surrey " had to double, 
treble, and quadruple their parts. Mr. Anderson himself played 
the Duke of York and Jack Cade. In May 1867 he made a voyage 
to Australia, vid the West Indies, Panama, and New Zealand, 
playing at Melbourne, Ballarat, Sydney, Adelaide, &c., returning 
home by way of Ceylon, Aden, and Malta. Mr. Anderson was 
absent for 32 weeks, and had the good fortune to earn 3000/. by 
his trip round the world. In 1873-4 he once again appeared on 
the boards of his old house, Drury Lane, ^vith much success,- as 
Antony ('Antony and Cleopatra'), and as Richard Cceur de Lion 
in an adaptation of Sir Walter Scott's ' Talisman.' Mr. Anderson 
has written several dramatic pieces, none of which, however, have 
secured any permanent success, with the exception of ' Cloud and 
Sunshine,' and ' The Scottish Chief,' already mentioned. 
*' Letter from Mr. Anderson to the Editor. 


ANDREWS, ALBERT GARCIA, was born at Buffalo, New 
York, U.S.A., and was educated in France and at the College of 
the City of New York. He has been more or less engaged in 
dramatic affairs since boyhood, under the guidance and instruc- 
tion of his father, the late M. A. Andrews, who was for some 
years professionally connected with the Haymarket Theatre. Mr. 
Andrews's first important appearance on the stage was at the 
Gaiety Theatre, Dublin, with the so-called ' Chippendale Comedy 
Company,' on April 17, 1876. He remained with that company for 
two seasons, and then became a member of the " stock " company 
at the Theatre Royal, Newcastle-on-Tyne. Subsequently, June 
1877, he joined the Haymarket company on tour, and "opened "as 
Crabtree in 'The School for Scandal,' to Mr. J. B. Buckstone's Sir 
Benjamin Backbite. Whilst with the same company Mr. Andrews 
played such characters as Careless, Fag, and David in 'The 
Rivals ' ; Cool in ' London Assurance ' ; Captam Smart in ' Over- 
land Route,' &c. His first appearance on the London stage was 
made December 1877 at the National Standard Theatre in the 
aforesaid part of Captain Smart. Subsequently he was engaged 
by the management of the Lyceum Theatre to play in the revival 
by Mr. Irving of ' Louis XL,' and sustained therein the character 
of The Dauphin, March 9, 1878. Mr. Andrews is still (1879) a 
member of the company of the same theatre, having recently 
personated the part of Second Gravedigger in the revival of 
' Hamlet.' 

* ANSON, GEORGE WILLIAM, son of the undermentioned 
John William Anson, was born in Montrose, N.B., November 25, 
1847. He first appeared on the stage in December 1865 at the 
Theatre Royal, Edinburgh, and had achieved some success in the 
provinces (notably at Liverpool) as a " character actor " previous to 
his ddbut in London, which took place at the Olympic Theatre, 
October 4, 1873, in the part of Minadab in H. J. Byron's four-act 
comedy ' Sour Grapes.' Mr. Anson's acting on this occasion 
made a favourable impression. In the following year, in February', 
he performed the role of Verges in a revival at the Olympic Theatre 
of Shakespeare's ' Much Ado About Nothing,' Mr. Righton playing 
Dogberry, Mr. G. Neville Benedick, and Miss Fowler Beatrice. 
At the same theatre, in March of the same year (1874), on the 
occasion of the first performance of Tom Taylor's four-act historical 
drama, entitled ' Lady Clancarty ; or, Wedded and Wooed,' Mr. 
Anson sustained, in a way which elicited high admiration of his 
dramatic powers, the part of Scum Goodman. In this drama Miss 
Cavendish " created " the leading rdle, and Miss Fowler the character 
oi-Lady Betty Noel. Mr. Anson was likewise in the original cast 
(l) of 'The Two Orphans,' "drama in six acts and eight tableaux " 
adapted from the French ' Les Deux Orphelines,' produced at the 
Olympic Theatre, Monday, September 14, 1874; and (2) of Mr. 
Albery's five-act comedy ' The Spendthrift ; or, the Scrivener's 
Daughter,' first performed at the same theatre in May 1875. His 
acting in the latter play was remarked upon as " strikingly realistic." 


Mr. Anson performed also in revivals of ' The Ticket-of-Leave Man ' 
and ' Henry Dunbar ' at the Olympic ; his picture of light-hearted 
and ebullient villainy, as typiiied in the amusing Major of the last- 
named drama, was singularly life-like and unconventional, and 
formed not the least interesting and attractive element of the 
revival. It may be interesting to note that ' Henry Dunbar ; or, a 
Daughter's Trial,' a four-act drama by Tom Taylor, founded on 
Miss Braddon's novel, vs^as first produced at the same theatre in 
December 1865. At that time Miss Kate Terry (Mrs. Arthur Lewis) 
had not quitted the stage, and the play obtained a measure of 
success to which her acting as Margaret Wentworth the heroine, 
and that of Mr. Henry Neville as the so-called Henry Dunbar, 
largely contributed. This piece has always been a favourite with 
Olympic playgoers, who in general exhibit a nice appreciation of 
the trifling infirmities and cool impudence of the Major. 

In 1875-6 Mr. Anson was engaged at the Court Theatre, and 
appeared there in burlesque with considerable ^clat, and in a 
revival of the comedy of ' New Men and Old Acres,' in which he 
sustained the character of Bunter. In 1877-8 he had returned to 
the Olympic Theatre ; and on Monday, June 10 of the latter year 
was in the original cast of Messrs. Tom Taylor and Paul Meritt's 
three-act domestic drama ' Love or Life.' The piece, however, 
proved unattractive. In the summer season of 1879 Mr. Anson 
was engaged at the Haymarket Theatre, and appeared there in 
April in Mr. W. G. Wills's unsuccessful five-act comedy ' Ellen ; or, 
Love's Cunning,' subsequently revised by the author and reproduced 
at the same theatre as a three-act comedy under the title of ' Brag.' 
There were some admirable points in both these plays, but each 
lacked intelligibility and cohesion. The characters which secured 
most notice were those of Tom Pye, most amusingly played by 
Mr. Charles Kelly ; a Jesuit Priest, superbly acted by Mr. Anson 
himself; and Lady Breezy, performed by Miss B. Henri. Miss 
Florence Terry " created" the title role. Following the withdrawal 
of ' Brag,' Mr. Boucicault"s all-but-forgotten Adelphi drama ' The 
Life of an Actress ' was placed on the Haymarket stage, Mr. Anson 
undertaking the role of Grimaldi, originally played by the author of 
the play. As an actor Mr. Anson is possessed of force and pathos, 
and is an excellent low comedian. He has acquired the facility of 
a foreign accent which in some pieces he has employed to ad- 
vantage. On the whole, his broken English is the best that has 
been heard on our stage since the days of Mr. Alfred Wigan, with 
whom, in that actor's well-known impersonation of Achille Talma 
Dufard, Mr. Anson favourably compares. He has been recently 
(July 1879} appearing in this character at the Folly Theatre, 

ANSON, JOHN WILLIAM, father of the above-named, was 
born in London, July 31, 1817. At the age of twenty he joined 
the Cambridge " Garrick Amateur Club^" in whose theatrical per- 
formances he bore a leading part, and in 1843 entered the dramatic 
profession, first appearing at the Theatre Royal, Bath, as Lissardo 


in the comedy of ' The Wonder.' His debut being a success, Mr. 
Anson joined the Ryde and Southampton, and afterwards the York, 
and later, the Belfast " circuits," of the latter of which organizations 
he was a member for four years. For some considerable period of 
his earlier career Mr. Anson was manager of the Dundee, Perth, 
Montrose, and Inverness theatrical companies. He made his first 
appearance in London in 1853, as a member of Mr. W. Cooke's 
dramatic company, then playing at Astley's. At that theatre Mr. 
Anson appeared in a dramatic piece entitled ' The Battle of the 
Alma ' ; and subsequently sustained there the character of Fahtaff; 
and during a revival of ' Rob Roy ' the part oiBaiUie Nicoljarvie. 
For many years Mr. Anson was connected with the Adelphi Theatre 
under the lesseeship of Mr. Benjamin Webster. He has taken a 
prominent part in various enterprises designed to benefit members 
of his profession incapacitated through age or ill-health from 
following the active duties of their calling. In 1855 he founded 
the Dramatic, Equestrian, and Musical Sick Fund ; and he was 
also largely instrumental in promoting the foundation of The 
Dramatic College, an institution which, continuing for some years, 
resulted in failure, owing to the lack of adequate pecuniary support. 

APPLEBY, THOMAS BILTON, was born at Howdon (New- 
castle-on-Tyne). He began his professional career August 3, 
1866, at the Theatre Royal, Dundee, under the management of 
Mr. E. D. Lyons, as " first low comedian and principal burlesque 
actor," " opening " there as Wormwood in ' The Lottery Ticket.' 
Afterwards he fulfilled engagements at the Theatres Royal, 
Glasgow and Edinburgh, and at the Tyne Theatre (Newcastle-on- 
Tyne), where, at its first performance in England, Mr. Appleby 
played the part of Sadlove in Boucicault's drama ' Elfie ; or, the 
Cherry Tree Inn.' On March 4, 1872, he joined the late Mr. L. J. 
Sefton's company at the Theatre Royal, Leeds, selected to play 
' Pygmalion and Galatea' throughout the provinces, and sustained 
the part of Chrysos during the very successful provincial " run " of 
the piece. Mr. Appleby played at the same theatre on the date 
above given the title rdle in Burnand's burlesque ' King Kokatoo ; 
or, Who is Who, and Which is Which?' afterwards altered and 
produced at the Opdra Comique, London, under the title of ' Kissi- 
Kissi.' Mr. T. B. Appleby made his debut on the London stage 
August 15, 1874, at the last-named theatre as the Governor in 
the opera bouffe ' The Broken Branch.' At the conclusion of his 
engagement at the Opdra Comique, Mr. Appleby joined, suc- 
cessively, the companies of the Theatres Royal, Manchester and 
Hull, and of the Gaiety Theatre, Dublin, remaining at the latter 
theatre for two years, where his careful acting of the Fijst Grave- 
digger in a revival of 'Hamlet' during an engagement of Mr. 
Irving secured well-merited approbation. Afterwards he joined the 
company of the late Mdlle. Beatrice to undertake " the character 
business." With that company he appeared at the Olympic 
Theatre August 5, 1878, as Remy in 'The Woman of the 
People' ; and at the same theatre April 27, 1879, on the occasion of 


the first performance in London of an original " comedy-drama " by 
Frank Harvey, entitled ' Married, not Mated,' he played the part of 
Matthew Lambert. 

ARCHER, FRANK (a nom de thidtre ; FRANK BISHOP 
Arnold), was born at Wellington, Salop. He began his dramatic 
career at the Theatre Royal, Nottingham. In September 1869 Mr. 
Archer appeared at the Prince's Theatre, Manchester, under Mr. 
Calvert's management, as Polixenes in a revival of ' A Winter's 
Tale ' ; and continued at the same theatre for several seasons, 
playing principally in the Shakespearian revivals introduced by 
Mr. Calvert, 1869-72. In March 1871 Mr. Archer appeared there 
as Apemantus in ' Timon of Athens,' the first time of its produc- 
tion in Manchester, concerning which performance the Manchester 
Guardian (March 8, 1871) wrote: "The rare perceptive power of 
the great poet, of the subtle differences between qualities which a 
common generalization would consider identical, is finely displayed 
in this drama. Timon the misanthrope is an altogether different 
being from Apetnantus the cynic. In make-up, attitude, gait, and 
voice Mr. Archer realizes this latter character admirably. He is, 
however, a trifle too ready with his bitter badinage, and thus some- 
times suggests rather a chiselled criticism than a flashing retort. 
He is too aufait; but in all other respects he speaks and acts the 
part well." 

The same year Mr. Archer accepted an engagement at Liverpool ; 
but returning to Manchester, played Antonio in a grand revival of 
' The Merchant of Venice.' He made his first appearance in London 
at the Prince of Wales's Theatre, May 1872, as Captain Dudley 
Smooth in 'Money.' During May 1873 Mr. Archer appeared as 
the King in ' Hamlet ' in a series of performances of that tragedy 
organized at the Crystal Palace, Sydenham, by Mr. Tom Taylor ; 
and on the 19th of the same month and year he represented the 
character of JiUian Gray in Mr. Wilkie Collins's play of the ' New 
Magdalen,' then performed for the first time at the Olympic 
Theatre. This part was very ably sustained by him. 

In November 1874 he returned to the Prince of Wales's Theatre, 
appearing as Lord Ptarmigant in the revival of ' Society.' At the 
same theatre, in April 1875, he enacted the part of Antonio in the 
unsuccessful revival of ' The Merchant of Venice ' ; and subsequently 
Vane in ' Masks and Faces.' In April 1876 Mr. Archer undertook 
the representation of Wilfred Gordon in Byron's play of ' Wrinkles,' 
also at the Prince of Wales's Theatre ; and in May of the same year 
played Prince Perovsky in a revival of T. W. Robertson's ' Ours.' 
In September 1876 he reappeared at the Olympic, under Mr. H. 
Neville's management, as The Duke de Gonzagues in ' The Duke's 
Device.' In the following year, on July 6, at the Princess's Theatre, 
Edinburgh, he played Hamlet. " Mr. Archer's impersonation of the 
greatest of all Shakespearian characters is original, not in the sense 
that he has placed a strikingly new interpretation on any scene 
or passage, but because he has manifestly devoted himself with 
earnestness to the study of the part, has thought out the meaning 


of every line, and strives, with a very considerable measure of 
success, to give a natural, spontaneous delineation of each phase of 
the character. . . . The chief fault of his impersonation arose from 
his anxiety to avoid rant, vfhich made" his reading of some of the 
louder and more stormy scenes too quiet, and wanting in fire, though 
rarely in depth of passion. Mr. Archer's delivery of the great soli- 
loquies was excellent from the total avoidance of the ' set speech ' 
style, and from the meaning and expression given, without artifice 
or effort, to every word." [Scotsman, July 7, 1877.) 

On March 30, 1878, and during the subsequent "run "of the piece 
at the Royal Court Theatre, he undertook the part of Btirchell in 
Wills's play of ' Olivia,' founded on a leading incident in Oliver 
Goldsmith's ' Vicar of Wakefield.' On September 23 of the same 
year, in a revival at the Olympic Theatre of ' The Two Orphans,' 
Mr. Archer played the Count de Linierej and on Monday, March 24, 
1879, first performance at the same theatre of Mr. W. S. Gilbert's 
' Gretchen,' he acted Mephistopheles. The play proved unattractive; 
its withdrawal, however, giving rise to some difference of opinion 
as to the expediency of that course between the author and the 
management of the theatre. 

ARCHER, JOHN, was born in London 1835, and entered the 
dramatic profession in 1849. He was for some years member of a 
travelling company, first of the Kent, and afterwards of the York 
circuits, and has appeared at the various leading theatres in the 
provinces. In 1868 he entered upon an engagement as a leading 
member of the " stock " company of the Edinburgh Theatre. He 
subsequently appeared at the Lyceum Theatre, in London, under 
Mrs. Bateman's management, in various parts in the revivals 
originated by Mr. Henry Irving. 

ASHFORD, CHARLES, born in Birmingham, was in early 
Iffe apprenticed to an engraver. He entered the dramatic pro- 
fession in 1 87 1, making his first appearance, September 11 of 
that year, at the Theatre Royal, Nottingham, as Genshetie in the 
drama of ' Notre Dame.' Afterwards, from 187 1 to 1877, he fulfilled 
engagements as " low comedian, character and burlesque actor " 
at various provincial theatres. At the Theatre Royal, Hull, 
1876-7, under Mr. Sefton Parry's management, Mr. Ashford 
estabhshed hmiself as a great favourite in such parts as Barney 
O Toole 1^ Peep o' Day '), Wackford Squecrs (' Nicholas Nickleby '), ' 
Picard ('The Two Orphans'), &c. He made his d^ut on the 
.^r , ?", f'""^? .^' '^^^ Olympic Theatre, Monday, April 2, 1877, as 
Welsh (^\^ ships carpenter) in Mr. Charles Reade's drama ' The 
bcuttled Shtp, " by his dancing and thoughtful acting contributino- 
not a httle to the general success of the piece." Subsequentlv in 
August of the same year, he acted at the Criterion Theatre the 
character of Sampson Burr in a revival of ' The Porter's Knot'- and 
in September joined Mr. Alexander Henderson's coniDany at the 
Foly Theatre, appearing as Neptune in Lecocq's ' Musical Romance ' ' 
The Sea Nymphs,' and as Babillard in Offenbach's comic opera 


'The Creole.' In February 1878, at the same theatre, on the 
occasion of the first performance in London of Planquette's comic 
opera ' Les Cloches de Corneville,' Mr. Ashford performed the part 
of Gobo. He has continued to act the same role during the suc- 
cessful " run " of the piece, at the Globe Theatre, extending to the 
present time (July 1879). 

ASHLEY, HENRY JEFFRIES, nephew of the late well-known 
author and contributor to English literature, Dr. Doran, was born 
in London, and was originally educated for the profession of a civil 
engineer, having passed nine years of studentship in the office of the 
firm of Maudslay, Sons, and Field. A predilection for the stage 
induced Mr. Ashley to enter the dramatic profession, and he studied 
the rudiments of the actor's art under the late Edmund Glover in 
Glasgow. With the exception of a brief season at Birmingham, 
Mr. Ashley remained at Glasgow acting minor parts until the 
opening of the St. James's Theatre, London, under the management 
of Mr. and Mrs. Alfred Wigan in i860. His d^but on the London 
stage was made at that theatre the same year, in Tom Taylor's 
comedy entitled ' Up at the Hills.' It was during this engagement, 
extending over two years, that this actor first discovered a qualifi- 
cation for eccentric comedy in a farce called ' Under the Rose.' 
After a season at Liverpool, under Mr. Alexander Henderson's 
management, Mr. Ashley returned to the St. James's Theatre 
(under Benjamin Webster), and was subsequently transferred 
to the Adelphi, where Mr. Ashley remained for seven years. 
Among the successes obtained by him at that theatre, the part of 
William in Charles Reade's adaptation of Tennyson's ' Dora ' is 
deserving of mention. After leaving the Adelphi he accompanied 
Mr. Toole on an extended tour, and subsequently fulfilled several 
successful engagements at Liverpool and Hull. During the per- 
formance of the play entitled ' The Great Divorce Case,' at the 
Criterion Theatre, Mr. Ashley performed for a time the part of 
Geoffrey Gordon. He has continued at the same theatre, appear- 
ing in prominent characters in the following pieces, viz. : ' Hot 
Water,' ' On Bail,' the ' Pink Dominos ' (in the character of Joskyn 
Tubbs), and the ' Porter's Knot ' (in the character of Sampson Burr). 

AUBREY, KATE, was born at Stafford, and commenced her 
theatrical career in the provinces under the management of Mr. 
John Hudspeth, making her first apjjearance on any stage at 
Derby,- December 24, 1874. She remained with Mr. Hudspeth's 
company for some months, and afterwards (September 4, 1875) 
accepted an engagement at the Theatre Royal, Hull, which con- 
tinued until May in the year following. Here Miss Aubrey played 
a variety of parts of more or less importance, notably the character 
of Mrs. Leslie in a new piece written by W. F. Broughton, entitled 
■* A Labour of Love,' and that of Rosa Dartle in ' Little Em'ly.' In 
May 1876 she was engaged at the Prince's Theatre, Manchester, 
under Mr. Browne's management, and played there in a new opera 
entitled ' Nell Gwynne,' and the part of Pedro in ' Girofld-Girofla '; 


and subsequently acted with Mr. Irving, Mr. Toole, and Miss 
Neilson during their several engagements at that theatre in 1876. 
Miss Aubrey made her ddbut- on the London stage, December 2, 
1876, at the Royal Court Theatre, in the character of Fanny 
Biinter in a revival of ' New Men and Old Acres ' ; and subse- 
quently appeared there in various plays produced between 1876 and 
1878. In the latter year, on 30th March, she performed the part of 
Sophia on the occasion of the first representation of Wills's play 
' Olivia,' and continued to appear in the same character during 
the run of the piece. 


BALFOUR, THOMAS, was born in London, October 1849, and 
adopted the stage as a profession in 1876, having previously passed 
through the usual routine of study with " stock " companies in the 
provinces. He made his first appearance on the London stage as 
the Coroner in ' Jo ' at the Globe Theatre, and afterwards played 
there a round of various characters (including Rawdon Smdamore 
in Boucicault's 'Hunted Down'), terminating his engagement at 
the end of April 1878. Mr. Balfour has supported Mrs. Herman 
Vezin on tour, playing George du Hamel (' Cora '), Mr. Oakley 
(' The Jealous Wife '), Fortesme (' Miss Chester'), &c. ; and with the 
so-called ' Dan'I Druce ' Company has played "juvenile leading 
parts," Archibald Herries (' Heroes '), &c. 

BANCROFT, MARIE EFFIE {iide WiLTON, Marie), was 
borri in Doncas ter^^ and entered th e dra.matic. prnfR,ssiQn-in.cmdr- 
"^ood.plavmef various ch ildreiVs parts i n the p .ca^ia££gj-Brincipally at 
the Norwich, Bristol, ana Batft t neatres. She inadeher first ap^eax::, 
' ance on the Lon ggn^stage September i5,"fK5B^t the Cyc^uni_ 
'iheatre, as tne "boy Henri in ' B elphegor,' Mr. Dillon sustaining 
the titlg^Vfe.' a nd on the same eroning' acT5arPgy??Sa7l!ri~Eiu£Z 
lesque by William Brough, then performed for the firsftime, entitled 
'Perdita; or, the Royal Milkmaid.' On Monday, April 13, 1857, at 
the Hayniarket Theatre, Miss Wilton played the part of Ctipid in 
Talfourd's burlesque of ' Atalanta,' " with her usual vivacity, and 
aptitude for point making"; and in the following year, on Monday, 
August 9, the comedy of ' Court Favour ' was revived at the Strand 
Theatre, in order to introduce her in the part of Litcy Morton, 
originally played by Madame Vestris. The ability of Miss Marie 
Wilton being admitted, she at once received offers of engage- 
ment from London managers, and in December of 1858 acted 
the leading character in Morton's play, ' The Little Savage,' at 
the Strand Theatre with considerable success. Without par- 
ticularizing the many characters played by this actress in the first 
years of her connection with the London stage, it may be remarked, 
in general, that for some seasons she was one of the leading 
attractions, at the Hayniarket, Strand, Adelphi, and St. James's 
Theatres, chiefly as an impersonator of sparkling characters in 
farce and extravaganza. Some of the more sterling successes at 
the Strand Theatre — at one period of its history the home of 
English burlesque — were in a considerable degree attributed to 
Miss Wilton's admirable acting. Her metropohtan reputation 
being established, in 1865, in conjunction with Mr. H. J. Byron, 
she entered upon the management of the little theatre in Tottenham 
Street, Tottenham Court Road, now known as the 'Prince of 
Wales's.' Many first-rate associations had been connected with 
the building, which was originally opened as a melodramatic theatre 
on Easter Monday, April 23, 1810, with the result, however, of 
bringing about the ruin of Mr. Paul, a retired pawnbroker, who 


became its manager. Succeeding conductors fared little better, 
until in 1821 it came under the biton of Mr. Brunton, the father of 
the celebrated Mrs. Yates. In the interval it had changed its 
name more than once, and was known successively as ' The 
Regency,' and ' The West London Theatre.' A French company 
occupied it for some time ; and here M. Fr^d&ic Lemaitre made 
his dibiit in England. Afterwards Mr. Thomas Dibdin assumed 
the reins with moderate success. On the accession of William the 
Fourth, the theatre was again re-named, and called ' The Queen's,' 
in compliment to Queen Adelaide ; but- in 1833 it changed its title 
to ' The Fitzroy,' under the management of the May hews, when 
' The Wandering Minstrel,' afterwards made so famous by the 
inimitable Robson, was produced. Mr. Henry Mayhew and Mr. 
Gilbert Abbott a' Beckett were the chief authors of the establish- 
ment. In 1835 it came under the management of the celebrated 
Mrs. Nisbett, who again called it 'The Queen's'; but after 
passing through the hands of Colonel Addison and Mr. George 
Wild, it finally came into those of Mr. Charles James, a scenic 
artist, who retained possession of it from 1839, and who retained 
the lesseeship while transferring its direction to Mr. Byron and 
Miss Wilton. On Saturday, April 15, 1865, it was opened as the 
Prince of Wales's Theatre. Burlesque — hitherto Miss Wilson's 
fgrte — was at the outset the raism d'etre of the new establishment. 
The performances on the opening night comprised, ' The Winning 
Hazard' (J. P. Wooler) ; 'La Sonnambula ! or, the Supper, the 
Sleeper, and the Merry Swiss Boy'(H. J. Byron); and Trough- 
ton's farce of ' Vandyke Brown.' ^Miss Wilton^acted the Merry 
Swiss Boy, and in the course of the "evening spoTTe apfoTogue 
to the audience, which was very neatly written and well received 
It was not, however, by means of Mr. Byron's metrical hits, or the 
production of such skilful work as Mr. Palgrave Simpson's ' Fair 
Pretender,' that the new management achieved its most noteworthy 
triumphs. The elevation of the Prince of Wales's Theatre to the 
rank of what might be called, with every propriety, the most 
fashionable and best frequented theatre in London, dates from the 
introduction there of modern English comedy — ^of comedy of a 
kind hitherto unattempted by any graduate in the younger school 
of Enghsh dramatists. The genius of the late T. W. Robertson 
supplied the necessary plays for presentation. In their order those 
plays, as produced at the Prince of Wales's Theatre, stand as 
follows: — 'Society' on Saturday, November ii, 1865; 'Ours 'on 
Saturday, September 15, 1866; 'Caste,' Saturday, April 6, 1S67; 
' Play,' Saturday, February 15, 1868; 'School,' Saturday, January 16, 
1869; and ' M.P.,' Saturday, April 23, 1870. In 'Society' Miss 
Wilton undertook the part of Maud H ether i iigton ; in ' Ours' she 
played the original Mary Netley ; and in ' Caste ' created the part 
of Polly Eccles. And here it should be mentioned that at the close 
of the season of 1867, in December, Marie Wilton married Mr. S. 
B. Bancroft, one of the members of her company, who had from the 
first borne a principal part with her in representing the characters 
drawn by the skilful pen of Mr. Robertson. 

Continuing the enumeration of the parts played by Miss Wilton 
(now Mrs. Bancroft), in the comedies of Mr. T. W. Robertson 
above-mentioned : — In ' Play,' she enacted the part of Rosie Fan- 
queherej in 'School,' she represented the girlish heroine Naomi 
Tighej and in ' M.P.' she was Cecilia Dunscombe, the lighter- 
hearted of the two girls by whose bright eyes and pretty ways the 
whole of that pleasant piece was irradiated. With truth it may 
be said that, during the six years of their first performance at 
the Prince of Wales's, Mrs. Bancroft was the leading spirit of the 
Robertsonian comedies. Success followed success in her accu- 
rate and charming reproductions of the characters sketched by the 
author. The name of Bancroft will always be intimately associated 
with Mr. T. W. Robertson's dramatic triumphs ; and assuredly 
these were sufficiently brilliant to mark an epoch in the history of 
the modern English stage. 

Previous to the production of ' Society ' — which, it may be 
noted, was first performed at the Prince's Theatre, Manchester — 
Mr. Robertson, one of the most indefatigable of dramatic writers,* 
had only produced one piece which achieved anything of a success. 
This was the play of ' David Garrick,' an adaptation of the French, 
' Sullivan,' first performed at the Haymarket Theatre Saturday, 
April 30, 1864 with Mr. Sothern in the title rSle. His later work 
' Society ' was not only original, but in tone and construction so 
thoroughly English that even the suspicion of a foreign source 
was at once dismissed as absurd. Said the Times (November 14, 
1865), in discussing its merits, and those of the players who per- 
formed in it at ' the Prince of Wales's ' : " What is most to be 
admired in this piece is the fresh, genial spirit in which it is 
written. We can fancy, as it progresses, that we can see the author 
pleased with the contrivance of his own plot, and chuckling over 
the jokes as they come spontaneously from his brain. Even his 
looseness of construction, his frequent change of scene, his defi- 
ciency in everything like Gallic finish, and the inartificiality of 
soipe of his motives, far from offending, suggests the pleasant 
notion of a perfect freedom from conventional trammels. Then the 
personages are well and distinctly drawn, and adequately acted. 
Sydney Daryl [played by Mr. Bancroft], by nature a spirited 
gentleman, by habit a semi-Bohemian, is a much less common- 
place personage than the generality of stage lovers. . . . Next in 
importance [in the comedy] is Lord Ptarmigant, a remarkably thin 
nobleman of unmistakably aristocratic appearance [played by Mr. 
Hare], who less from weakness than from indolence, allows his wife 
to tyrannize over him, till he finds that he has to defend a righteous 
cause and then surprises the audience by a sudden display of authority. 

* Thomas William Robertson, born gth January, 1829, died 4th 
February 1871 ; was educated at Spalding in Lincolnshire, and in Hol- 
land He wrote a number of dramas for the minor theatres, but none of 
them brought him much reputation. His first great success was ' Society.' 
Other noticeable plays of his, in addition to those enumerated in the 
•oresent article, are ' For Love,' ' Shadow Tree Shaft,' ' Progress,' 
'Dreams,' 'Home,' and 'War.' 


■j8 the dramatic LIST. 

.... Maud Hetherington is a young lady of delicate sensibilities, 
delicately represented by Miss Marie Wilton, and as John Chodd, 
Mr. J. Clarke cleverly spices insufferable vulgarity and insolence 
with an indication of deep malignity. As for the ' Owls,' big and 
little, they are all capital fellows, capitally represented, from rough 
Tom Stylus who can't go to a patrician ball without a dirty meer- 
schaum in his pocket, and the eloquent president. Dr. Olinthus 
O'SuUivan, to a silent gentleman with snow-white hair and beai-d, 
who is said to be a professor of philanthropy." 

To the last-named play succeeded ' OURS,' a three-act comedy, 
played with great success at Liverpool in the summer of 1866, and 
in the ensuing September placed on the Prince of Wales's stage. On 
the first night of the piece the little theatre in Tottenham Street was 
crammed, and the verdict of Liverpool was endorsed with enthu- 
siasm. " From the author of ' Society,' " remarked the Daily News 
(.September 18, 1866), "it was only reasonable to expect dramatic 
writing of a high order, and no reasonable expectations will be 
disappointed in ' Ours.' Mr. Robertson evidently reUes more 
upon the brilliancy of his dialogue, and the originality of his situa- 
tions, than upon any subtleties of plot. The construction of the 
piece is exceedingly simple, and the story of it may be told in two 
or three lines. A poor ensign falls in love with a rich ward, and a 
rich brewer falls in love with a poor companion. The Russian war 
summons the former to the Crimea, and the latter follows as a 
volunteer. They are joined by the ladies — whose presence at the 
seat of war, by the way, is not satisfactorily accounted for — and the 
two couples ultimately become two units. A minor character is 
introduced in the person of a Russian prince, who proposes to the 
heiress, is rejected, and bears his mortification like a gentleman. 
There is also a highly amusing sergeant, the possessor of twins, 
whose domestic calamity forms the subject of some happy allusions 
.... The acting of the comedy was very near perfection ; every- 
body was fitted to a nicety. Mr. Clarke, as the wealthy brewer 
[Hugh Chalcot], misanthropic in appearance, but in reality the 
kindest of creatures, was excellent ; Mr. Hare, in the small part of 
the Russian prince [Prince Perovsky], made up and played as 
admirably as usual. Mr. F. Younge made his first appearance here 
as the doubly paternal sergeant [Sergeant Jones], and acted the 
part with much humour. The fair manageress (Miss Wilton), 
whose reception was overwhelming, played as well as she looked 
\Mary Netley] ; and Miss Louisa Moore looked as well as she 
played [Blanche Haye]. The comedy is remarkably well mounted, 
and the last scene — a Crimean hut — was veiy effective." 

'Caste' was the next of Mr. Robertson's comedies. The 
materials of which its story was composed had often been used 
before, but never more effectively. " The author," wrote a contem- 
porary journal, "has combined the geniality of Mr. Dickens, with 
the cynicism of Mr. Thackeray. He has taken the ordinary bailer 
girl of the stage and made her his heroine, and an angel, and he 
has shown, as clearly as a dramatist can show, that marriages 
between persons of very different classes are often very uncomfort- 


able, if not positively unhappy." The plot was excellently con- 
structed for the purpose of exhibiting- and grouping the various 
characters. " The Hon. George d'Ahoy, son of the Marquise de 
Samt-Maur, an English lady of high birth, married to a French 
nobleman, has fallen in love with Esther, daughter of Eccles (a 
dissipated specimen of the working man, who does no work), and, 
during the absence of his mother on the Continent, visits the 
humble residence of the plebeian in the character of an honourable 
suitor. He is accompanied by his friend. Captain Hawtree 
[Mr. Bancroft], who lectures him from a worldly point of view on 
the danger he is encountering by entering into a family so much 
below him in rank. Old Eccles [Mr. Honey] is simply detestable ; 
his two daughters support themselves and him by dancing at the 
'Theatre Royal, Lambeth' (wherever that may be), and though 
Esther [Miss Lydia Foote] the object of his choice, is a girl of 
superior manners, the same cannot be said of her sister Polly 
(Miss Marie Wilton), who is a damsel of very blunt manners, 
engaged to Sam Gerridge [Mr. Hare], a worthy gas-fitter, who 
neither tries nor even desires to elevate himself above his order. 
.... Eccles is a degraded mortal, who is always howling about 
the rights of labour, but who has scarcely been known to do a 
' stroke of work ' within the memory of his oldest friends. H^hates . 
_t]l£. aristocracy in theory, but is ready to lick the shoe JofTa. person 
of quality if anything is to^be made by the degradatio;i5.„That 
denrocratirTJl'Sp^^ti^p'wKich is amongst the leading nuisances of the 
day is satirized in this character with the most unsparing severity, 
and the moral effect of the part is heightened by the contrast of 
Eccles with Sam Gerridge, intended as a good specimen of the 
operative class. A less conservative writer would have found an 
opportunity for putting a little clap-trap into the mouth of honest 
Sam, but such operations are not to the taste of Mr. Robertson. 
Sam is not at all idolized, nor are his uncouth appearance or the 
vulgar terpsichorean feats which he performs under the influence of 
excessive joy accompanied by the possession of lofty sentiments. 
He is honest, industrious, and good-natured, has an eye ever 
directed to the main chance, and respects his own ' caste ' without 
less respecting that of others. He has a fitting partner in Polly 
Eccles, whose character is in the main similar to his own, though a 
tinge of feminine coquetry gives her somewhat the tone of a fine 
lady. These three parts are as well played as they can possibly 
be by Mr. George Honey, Mr. Hare, and Miss Marie Wilton." 
{Times, April 11, 1867.) 

" The hero of ' Play ' is very much like a blackleg ; his com- 
panion is one of those ' Honourables ' of ancient family who are 
not above earning a little money by billiard-sharping ; and round 
these two characters revolve, at different distances, an old trades- 
man and toady ; an old woman who borrows from nearly everyone 
she meets ; a young lover who has more money than brains ; a 
silly impulsive girl, one of those ideal actresses who are all beauty, 
goodness, virtue, charity, and affection ; a Prussian soldier, who 
speaks seven or eight words, not languages ; and another Prussian 


soldier, who is qualified for a deaf and dumb asylum. These are 
the characters who have to work out the story ; and the story may 
be told in a very few words— attempted bigamy. The blacldeg 
hears the silly girl has come into a large fortune ; cuts the an- 
nouncement of this fact out of a sporting paper to conceal it from 
her uncle and guardian ; then makes love to the girl, and is defeated 
by the unexpected appearance of his wife, who is only a trifle less 
silly than the other woman. . . . The acting leaves nothing to be 
desired." {Daily News, February 17, 1868.) 

In noticing the first performance of ' School,' the Times 
(January iS, 1869) wrote as follows : "The fact is not to be denied 
that the production of a new comedy by Mr. T. W. Robertson at 
the theatre which, once obscure, has become, under the direction 
of Miss Marie Wilton, one of the most fashionable in London, is 
now to be regarded as one of the most important events of the 
dramatic year. . . . The name of the piece might possibly recall 
to the memory of some elderly playgoers a delightful comedy by 
Mr. Douglas Jerrold, entitled ' The Schoolfellow,' which was pro- 
duced on the same boards more than thirty years ago, when the 
theatre flushed into temporary celebrity under the nominal manage- 
ment of Mrs. Nisbett. . . . Although in four acts the piece may 
be said to lack plot altogether, if by plot is meant a complication 
of incidents. Nor is this peculiarity felt to be a defect. Four 
pictures, all striking and full of significance, though of unequal 
merit, are connected with an artistic hand, and when all is over an 
unwearied audience is aware that a perfectly organized whole has 
been contemplated with uninterrupted pleasure. . . . The dialogue 
between the young lord [Lord Beaufoy, played by the late Mr. H. 
J. Montague] and Bella [played by Miss Carlotta Addison], while 
they converse in the moonlight, contemplating their own strongly- 
cast shadows, and fancifully commenting upon them, is replete with 
the prettiest conceits, in which it is hard to say whether wit or 
sentiment has the mastery, and the effect of the situation is 
heightened by the perfect arrangement of the decoration and the 
contrivance of dramatic effect. The school-girl archness of Naomi, 
and the transformation of the stubborn cynic Poyntz [Mr. Bancroft] 
into an uncouth adorer are expressed, too, in the smartest talk, 
sparkling with natural yet unexpected touches of humour. The 
actors, too, should receive their full share of credit for the perfect 
manner in which they realize the refined conception of the author." 

Mr. Robertson added another leaf to the garland he had so 
honestly and honourably won at this theatre, by the production of 
' M.P.' " None of his ' first nights,' we should say, can have been 
more genumely and pleasantly successful than that of his new 
comedy ' M.P.' ... In the way of light comedy there is nothing 
m London approachmg the pieces, and the troupe of the Prince of 
Wales's taken together. In a more spacious theatre, and by an 
audience more largely leavened with the usual pit and gallery 
public, these light and sparkling plays would probably be voted 
slow in movement, slight in texture, and weak in interest. But 
in this pretty little bandbox of a house, with such artists as Marie 


Wilton, Hare, Bancroft, and their associates to interpret them, 
almost at arm's length of an audience who sit as in a drawing-room, 
to hear drawing-room pleasantries, interchanged by drawing-room 
personages, nothing can be better fitted to amuse. Author, actors, 
and theatre seem perfectly fitted for each other. . . . Paris itself 
furnishes no exact pendant to this theatre and these comedies. 
The Gymnase would be, on the whole, the nearest parallel ; but the 
staple of pieces at that house is heavier and more solid than Mr. 
Robertson has created for the Prince of Wales's. These plays 
are, indeed, so unlike other men's work that they amount to a 
creation. Light as they are, there is in them an undercurrent of 
close observation and half-mocking seriousness which lift them 
above triviality. The worldliness, which is their predominant 
atmosphere, is corrected by fresh airs of unselfishness and better 
feeling, skilfully let in from time to time. They play about life, 
but not with it. There is no vulgarity in them, and no horseplay ; 
and their morale is, on the whole, healthy, even when they most 
affect to disclaim ' purpose,' and laugh ' goodiness ' to scorn. Mr. 
Robertson is perfectly seconded by his actors. Miss Marie Wilton 
is the actress who, of all now on the stage, has preserved most of 
the arch humour and shrewd significance of Mrs. Keeley, while her 
line of parts combines with these a refinement which in Mrs. 
Keeley's usual business would have been misplaced. . . . Miss 
Marie Wilton was charming in the mingled archness, sweetness, 
petulance, grace, and sauciness, which she threw into her part." 
[Times, April 25, 1870.) 

" In Miss Marie Wilton's performance of Cecilia it would be 
difficult to hint any fault," remarked another contemporary journal 
{Daily News, April 25, 1870). " Its spontaneous, genuine, and 
unflagging vivacity, though, perhaps, the quality which recom- 
mended it most to the audience, is really the least of its charms, 
which lie still more in the rarer qualities of the artistic actress. 
The perfect command of appropriate gesture and movement ; the 
subtler play of feature ; the power to indicate, in spite of an exterior 
of frivolity and mirth, a deeper and more earnest nature, these are 
things which on our stage are unhappily given but to the few. As 
Cecilia Dunscombe, Miss Wilton has actually succeeded in dignify- 
ing the famous ' young lady of the period ' ; and by a happy revela- 
tion of a something beneath the surface of a character, has, in spite 
even of a double gold eye-glass, and a faint approximation to a 
' Grecian bend,' raised that odious and half- fabulous personage to a 
point absolutely commanding our sympathy and admiration." 

In May 1872, Mrs. Bancroft undertook the part of Georgina 
Vesey, in a revival of ' Money ' at the Prince of Wales's Theatre, 
thus adhering to the principle which resulted in the strong casts of 
former days — the principle of making even the smallest parts as 
effective as possible. As pertinent to this admirable plan — so care- 
fully followed at the Prince of Wales's Theatre, under Mr. and 
Mrs. Bancroft's direction, and, with justice it should be added, by 
the late management of the Royal Court Theatre — the following 
remarks may seem not inappropriate : " From the current blemishes 


of English acting the Prince of Wales's company is to a great 
extent free. No attempt is made by any one of its members to 
eclipse his fellows, or to monopolize either the space on the boards 
or the attention- of the audience; no piece is presented in such a 
state of unpreparedness that the first dozen performances are no 
better than rehearsals ; no slovenliness in the less important acces- 
sories of the play is permitted. A nearer approach, accordingly, 
than elsewhere in England can be found to that ensemble it is the 
boast of the Comddie Frangaise to encourage, is witnessed. Actors 
are measured, so to speak, by their parts, and are only to take such 
as fit them. Miss Wilton herself, with an artistic feeling to be 
expected from her, accepts a subordinate character. The example 
she sets is followed, and, as a result, the performance takes the town 
with a sort of wonder." (Athenaum, May i8, 1872.) 

Among later assumptions by Mrs. Bancroft, Lady Teazle, in 
' The School for Scandal,' revived at the Prince of Wales's Theatre 
in April 1874, should be noticed. "At last we obtain — at least in 
modern days — a Lady Teazle who is the fresh, genuine, impulsive 
country maiden ■»/edded to an old bachelor, and not the practised 
actress, with all her airs and graces. How often in Lady Teazle 
the character is forgotten, the actress and the whole business in- 
variably remembered ! In the scandal scenes we were presented 
with an archness and sly sense of humour, always evident but never 
superabundant, in which Mrs. Bancroft has a special patent ; in the 
coaxing scene with Sir Peter Teazle, the child-like desire to kiss 
and make friends, the almost kitten-like content when the recon- 
ciliation is made, and the expressive change of the countenance from 
sunshine to storm when the wrangle commences again, were ad- 
mirably conveyed. But it was reserved for Mrs. Bancroft to make 
her most lasting impression in the screen scene. With wonderful 
care and welcome art the impression conveyed to an innocent mind 
by the insinuating deceit of Joseph was accurately shown by ex- 
pression to the audience, though the excellence of the general idea 
culminated in what is known as Lady Teazle's defence, when the 
screen has fallen and the dinoiiement has taken place. This was 
entirely new, and thoroughly effective. The tones, alternating 
between indignation and pathos, between hatred of Joseph and 
pity for her husband's condition, were expressed with excellent 
effect. It was the frank and candid avowal of a once foohsh but 
now repentant woman. The womanly instinct which [bids Lady 
Teazle touch and try to kiss her husband's hand, the womanly 
weakness which makes Lady Teazle totter and trip as she makes 
for the door of the hated room, the womanly strength which steels 
Lady Teazle in her refusal of .assistance from Joseph, and the 
woman's inevitable abandonment to hysterical grief, just before the 
heroic goal is reached, were one and all instances of the treasured 
possession of an artistic temperament." {Daily Teh-trrabh April 6 
1874) ' "^ ' 

In November of the same year Mrs. Bancroft played the part of 
Jenny Norihcote, in Mr. W. S. Gilbert's charming " dramatic con- 
trast " ' Sweethearts,' then first performed. (See subsequent criti- 


cism.) And in November 1875 she sustained the part of Peg 
Woffington, in a revival of ' Masks and Faces.' In April 1877 she 
acted the part of Mrs. Heygarth, in ' The Vicarage ' ; and in Sep- 
tember of the same year, the character of Hester Grazebrook, in a 
revival of 'The Unequal Match,' in which she gave further proof 
of her careful study of character and keen insight into peculiarities 
of temperament. 

On Saturday, January 12, 1878, Mrs. Bancroft undertook the role 
of the Countess Zicka, in an English version of M. Sardou's play of 
' Dora,' entitled ' Diplomacy,' then first performed at the Prince of 
Wales's. In a lengthy and well-considered criticism of this piece, 
the method of its adaptation, and of the acting of those set down 
in the original English cast, the Saturday Review (January 19, 
1878) remarked, that in one particular of some importance the 
English had the advantage over the French performance : " Mdlle. 
Bartet, promising though her acting was, did not approach the com- 
plete mastery and finish which Mrs. Bancroft shows in her playing 
of the Countess Zicka. . . . Whatever sins may be chargeable to 
the adapters, however, they have not been able to spoil the play for 
acting purposes. Mrs. Bancroft, as we have hinted, reveals as 
Countess Zicka a power for which her previous performances have 
scarcely prepared one. Every emotion of the scheming woman 
who, in Mrs. Bancroft's interpretation, says with infinite _ pathos 
that she might have been as good as Dora had she been as for- 
tunate, is given with rare skill and truth. In the last act, the 
shame of her detection commands pity, in spite of the baseness 
of her conduct ; and so great an interest is given by the actress to 
what has been left of Countess Zicka's account of her early life and 
its trials, that one cannot but regret its curtailment." The Countess 
Zicka, though always an important element in the piece, is not 
brought into any marked prominence till the last act, where the 
toils are gathered round her, and, struggling bravely to the last, she 
is brought to make confession and to sue for pardon. In this act 
Mrs. Bancroft, the representative of that character, exhibited in a 
degree which none of her later performances have permitted to her, 
all the admirable refinements and resources of the art in which she 
is acknowledged a mistress. 

On Saturday, January 11, 1879, 'Caste,' on the whole, the best 
known of the comedies^ of Mr. Robertson, was revived at the 
Prince of Wales's Theatre and had a successful run of nineteen 
weeks, the last performance taking place on Friday, May 30. Mrs. 
Bancroft had not appeared at the Prince of Wales's as Polly 
Eccles since 1871 ; the brightness and dramatic force of "her 
last appearances in this character"* during the period indi- 
cated, were beyond all praise. Of the original representatives 
of the piece, three were in their old places— Mrs. Bancroft, Mr. 
Bancroft, who again performed the part of Ca!ptain Hawtree, 
and Mr. George Honey, who represented the drunken father 

*.The playbills advertised these as Mrs. Bancroft's last appearances in 
the part of Polly Eccles. 


{see Honey, George). Of this revival it was remarked that, 
while armies of supernumeraries fill the stage of the great 
theatres, eight people on the stage of the Prince of Wales's 
cause the benches to be full. On Saturday, May 31, the pro- 
gramme was altered by the substitution, for the last-named play, 
of W. S. Gilbert's dramatic idyll, ' Sweethearts ' (in which Mrs. 
Bancroft sustained her original part of Jenny Northcote), and by 
the addition of Palgrave Simpson's comedietta ' Heads or Tails,' 
and Buckstone's comic drama ' Good for Nothing.' " The main 
burden of the rest of the evening falls upon Mrs. Bancroft," re- 
marked the Times (June 2, 1879). " It is hardly necessary to say 
how she sustains it in ' Sweethearts,' a poetical contrast by Mr. 
Gilbert, sometimes charming and sometimes nearly revolting, as 
the feeling for beauty of form or the tendency to cynicism in mean- 
ing, which make up the two sides of the author's work, alternately 
prevail. In the first act two young people are in love, but the 
pride of the girl is roused on hearing that her lover has suddenly 
determined, without consultation with her, to go to India; she 
pretends that he is indifferent to her, and teases him by mere 
courtesy when he comes to her to say ' Good-bye,' full of vague 
hopes and tender sentiments. He asks for a flower, and she gives 
him a whole pot of pelargoniums, and congratulates him on his 
botanical tastes. When he is gone, disappointed, she runs to see 
him come back, sure that he will come, ready, now that she has 
punished him, to betray the secret of her heart. Her happy flutter 
of expectation when she thinks she sees him returning, her sudden 
tears when, like the knight in the ballad, he shakes his bridle-rein 
and rides away, had the old result upon the audience. The 
emotions of Mrs. Bancroft are magnetic, and draw laughter and 
tears from some to whom these are rare luxuries. In the next act 
she is an old lady with silver hair, and her lover has come back 
with the title and fortune of a retired Indian Chief Justice. He 
visits the old place without any precise consciousness or recollec- 
tion of the particular circumstances which make it dear to him. 
To the charming old maid whom he converses with so uncon- 
cernedly, her petulent dismissal of her sweetheart has been the one 
event of her life, and she has treasured c%er since his rosebud, in 
exchange for which she made him that ill-timed gift of pelargoniums. 
So there comes about the second contrast of the drama. The first 
is between the garden in the country in 1848 and the suburban 
grass-plot in 1878. The second is between the woman who through- 
out her quiet life has cherished and kept green her old passion and 
the man with the dust and ashes of a busy life accumulated over 
the once active volcano of his love." 

In the little comic drama of ' Good for Nothing,' Mrs. Bancroft 
represented the heroine Nan, 'for the first time for thirteen years,' 
according to the playbill. ' Good for Nothing ' was first produced 
at the Haymarket Theatre in 185 1, and is understood to be founded 
upon the French vaudeville ' La Gamine.' Nan, first personated 
by the late Mrs. Fitzwilliam, has also found excellent interpreters in 
Mrs. German Reed and Mrs. Mellon. Mr. Buckstone in the part of 


Tom Diddles has been followed by Mr. Toole and the late Mr. 
John Clarke ; the original Harry Collier was Mr. Howe. " Mrs. 
Bancroft's performance of Nan is delightful because of its drollery, 
its naturalness, its artistic touches of pathos. This female Cymon 
of the streets, whom love converts from gutter games, rags, and 
uncleanness, to decency and propriety of language, conduct, and 
aspect, has never been more expertly or whimsically presented. 
From her first entrance, when soiled with mud, and fresh from 
throwing stones at Master Simpson, the landlord's son, who had 
interfered with her ' hop-scotch,' she stands to be rebuked by her 
'two fathers' — the gardener who begins like a lamb and ends like a 
lion, and the stoker who begins like a lion and ends like a lamb — 
Nan is assured of the hearty goodwill of the audience ; her rapid 
toilet, accomplished chiefly by the aid of a blacking brush, affords 
great amusement ; and genuine sympathy attends her ultimate 
union with her true love, Charley the carpenter." (Daily News, 
June 4, 1879.) During the season negotiations were opened between 
Mr. and Mrs. Bancroft and Mr. J. S. Clarke, which resulted in the 
former becoming lessees of the Haymarket Theatre. It is under- 
stood that Mr. and Mrs. Bancroft will enter upon their new and 
more responsible undertaking at the beginning of 1880, when, 
should ' Duty ' prove sufficiently attractive, that play will constitute 
the principal attraction. 

BANCROFT, SQUIRE BANCROFT, was born in London, 
May 14, 1841, and entered the dramatic profession at the Theatre 
Royal, Birmingham, in Januaiy 1861. Subsequently, he accepted 
engagements in Dubhn and Liverpool, playing almost every hne 
of character at each place, notably, various Shakespearian 
parts at the Theatre Royal in the first-mentioned city during the 
" starring " engagements of the late G. V. Brooke and Charles 
Kean in 1862-3. At this period of his career Mr. Bancroft 
likewise personated with considerable success the widely-different 
characters of Bob Brierly (' Ticket of Leave Man '), Monsieur 
Tourbillon, John Mildmay, Captain Hawkesley, and Murphy 
Maguire. He made his- first appearance on the London stage on 
the occasion of the opening of the Prince of Wales's Theatre, under 
the management of Mr. Byron and Miss Marie Wilton, April 15, 
1865. His reception being favourable, he was selected to sustain 
the part of Sydney Daryl in Mr. T. W. Robertson's comedy 
' Society,' first performed in the November following. This, as we 
have already noted, was the first of the series of plays written by 
that dramatist which so largely contributed to the success of the 
Prince of Wales's Theatre, and in no small measure to establish 
the Wilton-Bancroft company in the foremost rank of present 
Enghsh players. In each Mr. Bancroft may be said to have 
created one of the leading characters. In 'Society' (1865) he 
appeared as Sydney Daryl and afterwards as Tom Stylus j in 
'Ours' (1866) as Angus McAlister; in 'Caste' (1867) he was the 
original Captain Hawtreej in ' Play ' (1868) the original Chevalier 
Browne; in ' School ' (1869) the original Jack Poy?its. This 


latter play is generally acknowledged to be the masterpiece, as. 
regards dialogue, of the six principal works (including 'M.P.,' in 
which Mr. Bancroft took the part of Talbot Piers), written by the 
late T. W. Robertson. ' School ' had a consecutive run of nearly 
four hundred nights (381) by way of commencement, and has since 
been performed with unvarying success at every leading provincial 
theatre in the kingdom. Considering the care, skill, and originality 
brought to bear on the original presentment of the character of 
Jack Poynts, it seems only proper to mention Mr. Bancroft as a 
principal contributor to the conspicuous success which attended 
the first presentation of that play. 

In 1867 Mr. Bancroft married Miss Marie Wilton, and a large 
share of the management of the Prince of Wales's Theatre thence- 
forward devolved upon him. After the death of Mr. Robertson, in 

1 87 1, revivals of various plays were tried at this theatre with grati- 
fying success, the more noteworthy of these being ' Money,' in May, 

1872, followed by the revival of 'The School for Scandal,' in 1874. 
In the first Mr. Bancroft played the part of Sir Frederick Blount, 
in the second that of Joseph Surface. Both representations exem- 
plified the ability and earnestness with which this actor pursues his 
art. Said the Daily Telegraph (April 6, 1874): "The Joseph 
Surface of Mr. Bancroft, in that it is one of the most original and 
reflective performances, will attract most criticism, will probably 
court the most objection. When Mr. Fechter played I ago, and 
discarded the hackneyed villain, there was a similar disturbance. 
According to stage tradition, lago and Joseph Surface are such 
outrageous and obvious rascals that they would not be tolerated 
in any society. Mr. Bancroft reforms this altogether, and by a 
subtlety and an ease most commendable, valuably strengthens his 
position as an actor and his discrimination as an artist. Joseph 
Surface can be played as a low, cunning villain, or as a hungry, 
excited, and abandoned libertine. Mr. Bancroft adopts the golden 
mean. His deception is never on the surface, his libertinism is 
never for an instant repulsive. Not altogether striking or showy at 
first sight, it is, however, one of those instances of good acting 
which strikes the beholder when the curtain is down and the play 
put away." 

Among important parts played by Mr. Bancroft at the Prince of 
Wales's Theatre since 1872, the following deserve notice, viz., 
Triplet in 'Masks and Faces'; Sir George Ormond in 'Peril'; 
Dazzle in ' London Assurance ' ; Blenkinsop in ' An Unequal Match ' ; 
and lastly, Cotcnt Orloff in the English version of M. Victorien 
Sardou's play of ' Dora,' entitled ' Diplomacy,' performed in London 
for the first time January 12, 1878. " Some time ago, when writing 
of the performance of 'Dora' in Paris, we {Saturday Review, 
January 19, 1878] expressed a doubt whether adequate interpreters 
could be found foi the great scene between the three men. We 
may as well say at once that we are delighted to find this doubt 
need not have been entertained. This scene, which is no doubt 
the one upon which the play depends, is played as admirably here 
as it was at the Vaudeville in Paris. . . . Mr. Bancroft's perform- 


ance in this scene as Count Orloff (the Teckly of the original play) 
could hardly be improved, and his playing of the part throughout 
gives a fresh proof of Mr. Bancroft's fine power of impersonation — 
a thing somewhat different from acting in the loose sense which is 
too commonly attached to the word. The character demands an 
unusual capacity for indicating rather than expressing a passionate 
emotion, and in Mr. Bancroft's rendering of it we can find no fault." 
In the first of the great scenes of the play the acting of Mr. Ban- 
croft, Mr. Kendal, and Mr. Clayton, respectively impersonating the 
friend, the husband^ and the brother, could not well have been 
bettered. The situation is in itself very striking, and presented as 
it was by these three gentlemen, it brought down applause from all 
quarters of the house. The play was a great success. 

In a revival of 'Caste,' January 1879, Mr. Bancroft resumed his 
original part of Captain Hawtreej and in June of the same year, 
in a revival of W. S. Gilbert's ' Sweethearts,' he sustained the 
character of Harry Spreadbrow, originally played by Mr. Coghlan. 

Mr. Bancroft, it may be remarked, has devoted much time and 
energy at the Prince of Wales's Theatre to, what may be not unfitly 
termed, the art of stage management. Towards the end of the 
present year he becomes joint-lessee with his wife of the Hay- 
market Theatre. 

BANDMANN, DANIEL EDWARD, was born at Cassel, 
Germany, and entered the dramatic profession at the age of 18, 
making his professional ddbut at the Court Theatre of New Strelitz. 
He afterwards performed in various towns of Gennany and Prussia, 
and in Vienna, and acquired considerable reputation as an actor in 
Shakespearian drama. Subsequently, going to the United States, 
Mr. Bandmann acted for the first time in English January 15, 1863, 
at.Niblo's Garden in New York, where he created a very favour- 
able impression as Shylock. He remained for five years in the 
United States acting in the principal cities. At Philadelphia (where 
his tragic power attracted the notice of the distinguished tragedian 
Edwin Forrest) he was selected to play Hamlet at a commemo- 
rative celebration of the tercentenary birthday of Shakespeare. Mr. 
Bandmann performed the same part at San Francisco during a 
" run "of the play, which extended to a month. He made his first 
appearance on the British stage at the Lyceum Theatre, on Monday, 
February 17, 1868, in a play called 'Narcisse,' which had already 
acquired much reputation in Germany and America. Its author, 
Herr Brach Vogel, a Berlin dramatic writer of some note, founded 
its chief incidents on M. Diderot's well-known story ' Neveu de 
Rameau.' Mr. Bandmann played the title rdle. The following 
notice of the performance was published in the Times (February 
21, 1868): — "On Monday night this theatre (the Lyceum) was 
crowded to an extraordinary degree by an audience anxious to 
witness the performance of Herr Bandmann, a German actor, who, 
though he had never been seen in London, had acquired in his own 
country and the United States a fame which had travelled to 
England. Herr Bandmann, by birth a Prussian, commenced his 


professional career by a tour through Bohemia, Austria, and 
Hungary, and then crossing to America came out at the Stadt- 
theater, New York, a house in the Bowery exclusively appropriated 
to German performances. So great was his success,_ that he was 
advised to study the English language. -.The counsel was followed, 
and its soundness was proved by a successful performance in 
English at Niblo's Garden, then the chief house for the higher 
class of drama, though now apparently doomed to the perpetual 
representation of spectacle. Herr Bandmann brings with him to 
England the translation of a German play, entitled ' Narcisse,' 
being the work in which his great successes, European and Ame- 
rican, have been achieved. The hint for this piece was taken by 
the author, Dr. Brach Vogel, from the remarkable dialogue en- 
titled 'Rameau's Neffe,' which was published by Goethe in 1805, 
and always has a place in his collected works. The history of this 
dialogue is curious. ' Le Neveu de Rameau ' was written by 
Diderot — of course in French — about the year 1760, and the 
original MS., we read, is still to be found in the Imperial library 
at St. Petersburg, where it is numbered 381. A copy of this MS. 
fell into the possession of Schiller, and was by him handed over to 
Goethe, who translated it, and published it with a highly instructive 
appendix. A re-translation from Goethe's German into French, 
by M. de Saur, published in 1821, first rendered the dialogue 
accessible to the French public, and was for a time regarded as the 
genuine production of Diderot. However, shortly afterwards the 
real original, taken from a copy in the possession of the only 
surviving daughter of Diderot, was published in the collected works 
of the atheistical philosophe, edited by Bri^re. . . . 

" In the elaborate book on the life and works of Diderot, written 
by Dr. Carl Rosencranz, and published rather more than a twelve- 
month since, Brach Vogel's ' Narcisse ' is mentioned as one of the 
most popular plays of the modern German repertory. That it 
could ever become very popular in England, save as a vehicle for 
the actor who plays Narcisse, is extremely doubtful. The numerous 
dramatis personce are neither strongly marked, nor are they of a 
kind that greatly appeals to British sympathies, inasmuch as these 
generally lie dormant in the atmosphere of a theatrical French 
Court. The dialogue, too, the repartees of Narcisse included, is 
marked by that absence of sparkle which is not unfrequent in 
Teutonic wit. This latter defect is rendered most apparent by a 
scene representing Madame de Pompadour at her toilette, which 
has been written in by the last French adapter, and which in 
point, purpose, and historical significance is so far superior to the 
rest of the work, as far as dialogue is concerned, that we should 
hazard a wish that the same gentleman had rewritten the whole, 
from beginning to end, did we not take into consideration the 
immense trouble that would have been encountered by Herr Band- 
mann had he been subjected, after performing the piece for hun- 
dreds of times, to a study of new words. It is on Herr Bandmann 
himself that the success of ' Narcisse ' depends. Not that the 
nephew of Rameau is a personage whom any actor desirous to 


make a display would choose to represent ; for, strange to say, be 
is not involved in a single dramatic situation till within a few 
minutes before the fall of the curtain, nearly the whole of his effect 
being produced by speeches of a narrative and reflective kind. 
Herr Bandmann, however, has manifestly taken a strong fancy to 
the part, and so completely has he identified himself with its 
peculiarities, that the result is one of the most highly finished and 
original performances to be seen on any stage. There is a light 
easy grace in his early scenes, which at once prepossesses the 
public in his favour, and the sarcasms which he utters, and which 
are not of the most pungent, gain a strange significance from the 
glib manner in which he rolls them off his tongue. With all his 
merriment there is something weird in his aspect, as though he 
was talking under the influence of a dream, and it was altogether 
uncertain what odd phrase would follow the last one uttered. His 
pathos in the delivery of an affecting narrative is deep and quiet — 
so quiet indeed, that it at first leads to a belief that he is deficient 
in physical power. But the fallacy of the inference is amply proved 
before the end of the play. The rush into the arms of the Mar- 
quise, when Narcisse first recognizes her amongst the audience of 
the play ; the change of the love, so passionately and so spon- 
taneously expressed, into absolute abhorrence, and the further 
change to despair, tell with a force that could scarcely be sur- 
passed. In this situation occurs the only opportunity for a display 
of gesticulatory talent, and Herr Bandmann avails himself of it to 
the utmost. There is not one of his attributes that is otherwise 
than picturesque, and, strange to add, that is otherwise than 
natural. In some of his impassioned utterances, where love is the 
theme, he will remind many of Mr. Fechter, but in his command 
of the English language he is far superior to that celebrated actor. 
Indeed there is little in his accent to indicate that he is a German 
at all, the slight peculiarity in his pronunciation apparently in- 
dicating the influence of his visit to America rather than that of 
his birth in Fatherland." 

On Saturday, October 3, 1868, on the occasion of the first 

Eerformance at the Lyceum Theatre of ' The Rightful Heir ' (Lord 
ytton), Mr. Bandmann sustained the character of Vyvyan, and 
on the 30th of November of the same year at the Lyceum he 
played Othello. In the year 1869 he visited the Australian colonies, 
remaining there for twelve months, and appearing in various roles 
in the legitimate drama during that period. Subsequently (1870-1) 
he made a second tour through the United States, which was 
equally successful as his first. Returning to Englandin June 1871, 
he reappeared in ' Narcisse ' at the Queen's Theatre, and also in a 
new play by Mr. Tom Taylor entitled ' Dead or Alive.' On 
Monday, February 10, 1873, he made his third appearance as 
Hamlet, in London, at the Princess's Theatre, having already 
performed the character at the Standard Theatre, Bishopgate, and 
in Manchester and several provincial towns in England, Scotland, 
and Ireland. Judging from the criticism of Mr. Bandmann's acting 
of the part, published in several provincial journals of repute, his 


Hamlet has been keenly appreciated by large audiences, and has 
been rewarded with a larger measure of praise than falls to the lot 
of most actors. His success in London in this and other Shake- 
spearian parts has perhaps not been so decided, at least in the 
view of some whose judgment is entitled to respect. The Athenmim 
(February 15, 1873) remarked as follows : " So far as Mr. Band- 
mann's presentation of Hamlet has any interest, it is an embodi- 
ment of the views of the character prevalent among German actors. 
The value of the exposition is greatly diminished by want of grace 
and refinement. Mr. Bandmann not merely lacks the chivalrous 
bearing, which in Mr. Fechter does duty for passion, but is in 
scenes almost slouching. The princeliness of Hamlet disappears, 
and is replaced by a weak sentimentahty. No touch of the irony, 
pathetic and savage in turns, of Hamlet is found in the actor's 
performance. No sign is there, moreover, of the working of fate 
upon the mind. At the outset of each separate scene the life of 
Hamlet seems to start afresh, — 

" ' This year knows nothing of last year ; 
To-morrow has no more to say 
To yesterday.' 

" Especially noticeable is this in the bearing of Mr. Bandmann 
when he sees the funeral of Ophelia. The first shock over, he 
moralises as calmly as though the interest he felt in the dead body 
before him was as remote as that in the skull of Yorick he had 
previously exhibited. Though the inadequacy of the acting de- 
tracted thus from the value of the experiment, the experiment 
itself is not without interest. Since the days of ^ Emil Devrient the 
German rendering of Hamlet has been much tamer than that 
customary in England. The points on which the English actor 
most insists are omitted, and the stage business judged of most 
consequence is allowed to lapse. This is not wholly loss, if indeed 
it is loss at all. There is something almost ludicrous in the notion 
of an audience waiting for a certain elevation or inflexion of voice 
at a fixed word, and bursting into applause as soon as it hears it. 
Some tameness, however, seems inseparable from the best ren- 
dering of the part after the German fashion. The tendency to 
monotony Mr. Bandmann tries to counteract by inventing 'busi- 
ness' of his own. This is wholly bad. His addressing to the 
picture of Claudius the strong words employed by Hamlet in his 
intei-view with the Queen has some ground of reason, but his 
sudden recoil and fall when the Ghost appears, and his delivery in 
a recumbent attitude of the advice to his mother, are equally 
meaningless and ineffective. The omissions from the text, whether 
due to carelessness or inattention, are alike unjustifiable. The 
most noteworthy occurs in the scene to which reference has just 
been made. In this the words following Hamlet's ' Good-night,' — 

" ' Put go not to my uncle's bed, 

Assume a virtue if you have it not,' &". 


are omitted. A little previously the actor left out the lines — 

" ' A station like the herald Mercury, 
New-lighted on a heaven-kissing hill.' 

Some scenes usually excised are, however, introduced. . . , That 
the experiment is wholly a failure is due to want of judgment in 
certain scenes, and of expository power in all. To partial failure 
such an essay is doomed from the first." 

The Examiner (February 23, 1873), while concluding that Mr. 
Bandmann is an accomplished and capable actor, practised in all 
the resources of his art in a thorough manner, which is charac- 
teristic of his nation, considered that he did not evince that critical 
ability by which some of his countrymen have been able to throw 
considerable light on the works of the great poet. " His repre- 
sentation is careful, and shows conclusively that much thought has 
been expended upon it ; but the thought seems to have been turned 
rather towards matters of detail than towards the central idea, the 
result being a number of small innovations which, on considera- 
tion, appear unmeaning and useless, when not absolutely detri- 
mental to the true effect. This constant striving after novel read- 
ings and ' business ' is becoming a characteristic of our revivals of 
Shakespeare's plays. To speak a passage with an unexpected 
accent, and to accompany it with some gesture not before used, 
seems to be the great object of most modern actors. It should be 
needless to point out that this method is at variance with the true 
order of procedure. Let the actor first grasp the main idea of the 
character he has to portray, and the smaller points in behaviour 
and speech will become clear to him, so that it is impossible to 
conceive them in two ways. Mr. Bandmann's Hamlet gives us no 
evidence of this process ; on the contrary, he would appear to have 
taken up each passage separately, and devised some mode of 
interpretation which should be peculiar, without any special refer- 
ence to the nature and inner feelings of the speaker. In restoring 
some scenes usually omitted Mr. Bandmann shows, however, ex- 
cellent judgment. One of these, in which Ha77ilet refuses to take 
the opportunity of killing the King while he is praying, because his 
soul might go to heaven, gives a necessary touch to the portrait, 
and is of the utmost importance as being the only instance in the 
play of the trait it illustrates. It has been said that such cruelty 
was inconsistent with the soft and affectionate disposition of the 
Prince — a criticism showing, we think, a want of acquaintance with 
peculiar developments of such a character. The entrance of 
Fortinbras with the soldiers, after the death of Hamlet, now closes 
the play, and here also the return to the original form is to be 
commended. From a certain point of view the usual conclusion 
with the words, ' The rest is silence,' is doubtless impressive, but 
a larger effect is made upon the imagination by this glimpse of the 
fighting, practical world. Like a breath of fresh air in a heated 
room, it braces the nerves, and enables us to see the occurrences 
of the drama in their true light ; it adds a salient colour to the 
picture, giving to the whole a broad and comprehensive harmony." 


In January 1877 Mr. Bandmann appeared as Hamlet and Othello 
in Berlin with considerable success. He has since been acting in 
the provinces, mainly, and is now (1879) in the United States. 

BANDMANN, MRS. {nde PALMER, Millicent), born in Lan- 
caster, England, was an actress of considerable repute at the 
Liverpool Theatre Royal, previous to her first appearance on the 
London stage, which took place November 7, 1864, at the Strand 
Theatre. She played on that occasion the part of Pauline in a 
piece entitled ' Delicate Ground.' " The romance and simplicity of 
Pauline were exquisitely represented by Miss Palmer {Standard, 
November 9, 1864), who, without an effort, and in a style very 
different to what the visitors to the Strand Theatre have been 
accustomed to see, made a deep impression, and appealed to all 
hearts. The tenderness of the character, too, was exquisitely 
realised, nor were energy and spirit wanting when required. There 
is, moreover, infinite grace and elegance in Miss Palmer's motions 
and attitudes which stamp her in a moment as a veritable queen of 
comedy ; added to which, her appearance is prepossessing in the 
highest degree. Need we say that Miss MiUy Palmer is an in- 
valuable acquisition to the Strand Theatre ? We may go even 
beyond this, and assert that Miss Palmer is one of the most 
accomplished actresses whom the London stage has witnessed for 
many years." She remained a member of the ' Strand ' company 
until the end of the season 1864-5. During her connection 
with that theatre she appeared in two pieces by J. P. Wooler, 
viz. ' The Wilful Ward ' and ' Laurence's Love Suit,' in both of 
which her acting secured special attention. In the latter play she 
sustained the part of Eva, the main purpose of this piece, accord- 
ing to the AthencEum (January 14, 1865), being the provision of an 
opportunity to Miss Palmer for the display of her pathetic powers. 
" The same lively sensible girl to whom humour seemed as natural 
as the most spontaneous act of her daily life, possesses also a fund 
of pathos so genuine in character, so unstudied, yet so effective, 
that it commands voluntaiy sympathy from all classes of spectators. 
The situation devised for her is of the simplest sort, scarcely suf- 
ficient for the supply of the most elementary conditions of dramatic 
structure ; but meagre as it is Miss Palmer charges it with a subtle 
vitality that acts on all within its reach. . . . Enough has been 
done to prove that Miss Palmer, with a more carefully drawn 
character, and in a more elaborately constructed drama, will rise 
into an estimation with which few will be able to compete." 

In October 1866 Miss Palmer played the leading female rdle in 
Tom Taylor's drama, ' The White Boy,' then first performed at the 
Olympic Theatre, and on November 18, 1867, she appeared as 
Juliet at the Lyceum Theatre and played the part for five weeks 
with great success. Subsequently, February 17, 1868, Miss Palmer 
appeared at the same theatre as Doris Guinault in ' Narcisse'; 
and on October 3 of the same year as Eveline, first performance 
of ' The Rightful Heir.' Since her marriage with Mr. Bandmann 
(February 9, 1869) Mrs. Bandmann has appeared in the seversil 

. I I 


plays in which her husband has acted a principal part. She 
accompanied him to the Australian colonies and the United States, 
and during his lengthened tour performed, among others, the 
following characters of the Shakespearian drama, viz. Juliet, 
Beatrice, and Portia j and in addition, Pauline in ' The Lady of 
Lyons.' Returning to England she appeared at the Queen's Theatre 
(Long Acre) July 6, 1872. In 1873 (February 10) she commenced 
an engagement at the Princess's Theatre, and then acted for the 
first time Lady Macbeth (see an appreciative notice in the Era, 
March 9, 1873). Since that year Mrs. Bandmann has played 
several successful " starring " engagements in the provinces, having 
appeared at various times in the characters already named, and as 
Ophelia, Rosalind, Desdemona, Mrs. H'aller (' The Stranger '), 
and Lady Teazle. Her last London engagement was in the play 
of 'Proof; or, a Celebrated Case,' first- performed at the Adelphi 
Theatre, Saturday, April. 20, 1878. 

BARNES, JOHN H.,,made his first appearance on any stage 
November 1871, at the Lyceum Theatre, in a subordinate part in 
' The Bells.' After filling minor engagements at the Globe Theatre 
(December 1871), and at Scarborough, he appeared, September 1872, 
as Captain Lewis in ' The Lady, of the Lake ' at Drury Lane. 
Subsequently at the Strand Theatre, during the winter of 1873, he 
performed with some success the character of Gordon Lockhar't 
in ' Old Soldiers.' The following summer, while playing at the 
Globe Theatre, then under the management of Mr. E. Saker, he 
was engaged by Mr. R. H. Wyndham to take, leading parts at 
Edinburgh. His successful impersonations of Romeo, Claude 
Melnotte, lago, and other characters established his position as 
an actor of ability. At Mr. Byron!s solicitationhe appeared at the 
opening of the Criterion Theatre in. 1874 as Geoffrey Greville in 'An 
American Lady.' In September 1874 he was engaged for a tour with 
Miss Neilson in America, and supported that lady in the well-known 
plays with which her histrionic fame is identified. During the 
summer of 1875 Mr. Barnes played leading comedy parts with his 
own selected company in the principal towns and cities of Canada. 
Returning to England, he sustained leading characters at the 
Theatre Royal, Manchester, and in a revival there of 'The School 
for Scandal ' appeared as Charles Surface. After playing Captain 
Molyneux in ' The Shaughraun,' he returned to London, appearing 
in May 1876 at the Princess's Theatre, where he achieved success 
as Chateau Renaud in a revival of ' The Corsican Brothers.' Since 
then he has appeared as Sir Leicester Dedlock in ' Jo ' at the Globe 
Theatre, and in various pieces at the Park, the Gaiety, the Opdra 
Comique, and the Aquarium (now Imperial) Theatres. During 
the autumn of 1878 Mr. Barnes acted in the provinces as Captain 
Julian Beauclerc in ' Diplomacy.' He appeared at the Olympic 
Theatre in Mr. Frank Harvey's play ' The Mother,' April 14, 1879, 
and as Henry IV., at a morning performance. May 3, 1879. When 
Miss Genevieve Ward took the Lyceum at the close of Mr. Irving's 
season August 1879, Mr. Barnes supported her in ' Lucrezia 



Borgia ' and other plays ; and September 20, in ' The Boarding 
School,' appeared at the reopening of that theatre under Mr. 
Irving's management. In ' The Iron Chest,' at the same theatre, 
Mr. Barnes appeared as Captain Fitzhardinge. 

BARRETT, MRS. WILSON. See Heath, Caroline. 

BARRETT, WILSON, previous to assuming the management 
of the Court Theatre, had acquired considerable reputation in the 
provinces as an actor and manager, and is well known as the 
lessee of the Grand Theatre, Leeds, and Theatre Royal, Hull. He 
appeared as the advocate Pomerol in ' Fernande ' at the reopening 
of the Court Theatre under his management, Saturday, September 
20, 1S79. 

LAND Fleet). Born at Penge, Surrey, January 15, 1853. Made his 
professional dibut at the Olympic Theatre, London, September i, 
1874, as Sir George Barclay in ' Clancarty.' At the same theatre 
during the same month and year he played Lafleur in ' The 
Two Orphans' (' Les Deux Orphelines' of M. d'Ennery), by John 
Oxenford. In connection with "readings" given in 1875 ^t the 
Egyptian Hall by Miss Emily Faithfull, Mr. Barrington played in 
a comedietta (adapted from the French by Miss Ella Dietz) 
entitled 'Lessons in Hannony.' Afterwards he joined the late 
Mrs. Howard Paul in her " Entertainment," traveUing through the 
provinces 1875-7. At the Op^ra Comique, November 17, 1877, 
first performance of Gilbert and Sullivan's comic opera ' The 
Sorcerer,' Mr. Barrington played Dr. Daly, the Vicar ; and on 
Saturday, May 25, 1878, first performance at the same theatre of 
' H.M.S. Pinafore,' comic opera (Gilbert and Sullivan), lie played 
Captain Corcoran, a part which he has sustained during the very 
successful " run " of the piece. 

BARRY, HELEN (Mrs. Alexander Rolls), was born in 
Kent, and entered the dramatic profession in August 1872, appearing 
at Covent Garden Theatre as the Princess Fortinbrasse in " a new 
fantastic musical drama" by Boucicault and Planchd, entitled 
' Babil and Bijou.' In 1872-3 at the Court Theatre she personated 
a leading character in Gilbert'splay entitled 'The Happy Land'; and 
in the latter year was engaged by Mr. Tom Taylor to play Margaret 
Hayes in his drama of ' Arkwright's Wife ' on its first production at 
the Leeds Theatre Royal. Subsequently, October 1873, Miss Barry 
sustained the same character at the Globe Theatre in London, 
" expressing the tenderer emotions with good effect, and her even 
passages being delivered with judgment " {Times, October 8, 1873). 
In December of the year following Miss Barry was engaged by the 
late Andrew Halliday to personate Edith Donibey in his play of 
' Heart's Dehght,' adapted from Charles Dickens's ' Dombey and 
Son,' and proved herself an efficient representative of the character. 
She was specially engaged by Mr. Boucicault to play Armande in 
his play of ' Led Astray ' on its production at the Gaiety Theatre 


July I, 1874. following wliich she went on a " starring " tour in the 
provinces. Returning to London, Miss Helen Barry was engaged 
to play the leading part in ' Round the World in 80 days ' (' Le 
Tour du Monde en 80 joui-s'; MM. d'Ennery and Verne) at the 
Princess's Theatre. Subsequently, in June 1875, at the same theatre 
she sustained the leading rile in Mortimer's unsuccessful play 
entitled ' Heartsease,' afterwards performing the part of Za<^ Clan- 
carty at the Queen's Theatre with considerable success. In 1876 
she appeared in London at the Haymarket in the title rdle in the 
Enghsh version of ' L'Etrang^r*,' and afterwards at the Standard 
Theatre as Donna Carmen in Hugh Marston's ^ True Till Death,' 
an adaptation from the French. Among important principal parts 
sustained with success by Miss Helen Barry the following may be 
selected for mention, viz. Lady Macbeth (at the Theatre Royal, 
Edinburgh), Lady Teazle (at the same theatre), Lady Gay Spanker 
(at Plymouth and Brighton Theatres, &c.), and Mrs. Sutherland in 
Cheltnam's comedy 'A Lesson in Love' (at Aberdeen), September23, 
1878, she began an engagement at the Olympic, playing Countess 
de Liniire in a revival of ' The Two Orphans.' Miss Helen Barry 
is married to Major Alexander RoHs, formerly of the 4th Dragoon 
Guards, J.P. and D.L, for Monmouthshire. 

BARRY, SHIEL, was born in Kildare County, Ireland, and 
first ap{)eared on the stage in 1859, in the Australian colonies, as 
Dr. O' Toole in ' The Irish Tutor.' Mr. Barry remained in AustraUa 
for some years. Returning to England he played several engage- 
ments, principally in Irish comedy, in the provinces, and made 
his first appearance on the metropolitan stage September 7, 1870, 
at the Princess's Theatre, as the Doctor in Boucicatflt's drama 
entitled ' Th« Rapparee.' Mr. Shiel Barry first attracted notice in 
London as an exponent of Irish character, his principal successes 
being in Boticicault's plays. He has appeared at the Gaiety 
Theatre, London, in support of that actor in ' Arrah-na-Pogue ' 
and ' The Colleen Bawn ' ; and with hiin has performed at the 
principal theatres in the United States (includiMg Booth's at New 
York) and in Canada. After various fortune Mr. Barry went to 
Demerara in British Guiana and visited the principal West Indian 
Islands. Returning by way of New York, he was engaged by Mr. 
Boucicatilt to act in England in ' The Shaughraun.' In the latter 
drama Mr. Shiel Barry appeared on the occasion of its first per- 
formance in London at Drury Lane Theatre, Saturday, September 4, 
1875, as Harvey Duff, a police spy. He met with his greatest 
success on the metropolitan stage in February 1878, at the Folly 
Theatre, when he acted the part of Gaspard, first performance of 
Messrs. H. B. Farnie's and R. Reece's English adaptation of M. 
Planquette's op^ra comique, ' Les Cloches de Corneville.' The piece 
proved most attractive. On Saturday, August 31 of the same 
year, it was transferred to the stage of the Globe Theatre, the 
services of Mr. Shiel Barry being still retained for the principal 
character. " So exceptionally encouraging Avas the reception which 
awaited it in its new abode, that it would seem in a fair way to 

D 2 


rival in popularity the original version, which has already achieved 
in Paris a success as remarkable in its way as that of ' Our Boys ' 
itself, when it is borne in mind that long ' runs ' are comparatively 
rare upon the French stage. More than one cause may be said to 
have contributed to this satisfactory result. The distinctness of 
its incidental melodies, the real dramatic interest centred in the 
character of the old miser Gaspard, and the scope afforded to 
the scenic artist and his ally the costumier, all served to attract 
attention to M. Planquette's work. . . . Few who have once heard 
it will forget the guttural laugh of Mr. Shiel Barry in his powerful 
delineation of the miser — a performance which belongs to the very 
highest order of eccentric comedy." {Daily News, September 3, 
1878.) In the summer season of 1879 this piece was still being 
performed at the Globe Theatre, Mr. Shiel Barrj' in his "' original" 

BATEMAN, ISABELLA, third daughter of the late H. L. 
Bateman, formerly of New York, and subsequently lessee of the 
Lyceum Theatre, London. As a child, on the 22nd December, 
1865, she appeared at Her Majesty's Theatre, in a piece entitled 
' Little Daisy,' in the character of Diggory Dawdlegrace, her sister, 
Miss Virginia Bateman [Francis], playing the part of Little Daisy. 
Miss Isabella Bateman made her professional d^but at the Lyceum 
Theatre on Monday, September 11, 1871, as the heroine in 'Fan- 
chette ; or, the Will o' the Wisp,' an adaptation of the German 
'Die Grille.' In the opinion of the Athenmum (September 16, 1871), a 
character less suited to a young actress whose talents are not of the 
highest order could not readily have been found. " Miss Isabella 
Bateman has stage aptitudes. Her first appearance should have 
been made, however, in a part far less exacting. A face which can 
be charged with fine sorrow, movements cultivated almost too 
carefully, youth, brightness, and intelligence constitute her gifts. 
Against these must be opposed a certain hardness, such as her 
sister never conquered, and an unsympathetic voice. In the per- 
formance of Fanchette, the later scenes, wherein the mischievous 
nature of the child was overcome, were decidedly the best. The 
early scenes were decidedly wanting in girlishness, ease, and 

On Saturday, September 28, 1872, Miss Isabella Bateman played 
the part of Queen Henrietta Maria, first performance at the 
Lyceum Theatre of Mr. W. G. Wills's historical drama ' Charles I.,' 
with real ability, and carried all the sympathy of the audience 
with her. Her entry with the cavaliers at the close of the second 
act was accompanied with admirable fire of voice and gesture, 
and in the pathetic scenes her emotion was never out of place. 
The prettiness of her French- Enghsh constituted one of the 
charms of this impersonation {Daily News, October i, 1872). In 
October 1874, in a revival of 'Hamlet' at the same theatre, she 
performed, during the unprecedented run of that tragedy, with Mr. 
H. Irving in the principal character, the part of Ophelia; and in 
February 1876, in a revival of 'Othello,' the character of Desde- 
mona. In June of the same year, on the occasion of s revival nf 


' The Belle's Stratagem,' she perfornaed the part of Letitia Hardy; 
and in June 1878 that of Thekla, first performance of ' Vander- 
decken ' (Messrs. Fitzgerald and W, G. Wills), founded upon ' Der 
Fliegende Hollander.' 

daughter of the late H. L. Bateman, formerly of New York, and 
subsequently lessee of the Lyceum Theatre, London, was born in 
Baltimore, October 7, 1842. She first appeared on the London 
boards as one of the so-called "Bateman Children," at the St. 
James's Theatre in 185 1, under the auspices of Mr. P. T. Barnum. 
During that engagement Miss Bateman played in 'The Young 
Couple' (a comic French piece written for the child L^ontine Fay, 
by M. Scribe) ; and also in selected scenes from Shakespeare's 
' Richard III.' in conjunction with her sister, Miss Ellen Bateman, 
the characters enacted being Richard HI. and Richmond. Miss 
Bateman's first appearance on the stage proper in London was 
made Thursday, October i, 1863, at the Adelphi Theatre, as Leah, 
in the tragedy of that name, an adaptation of Mosenthal's ' Deborah,' 
of which Madame Ristori was the original heroine. In this cha- 
racter Miss Bateman suppoKted by her own exertions a drama 
which, left entirely to its unassisted merits, might weary many and 
offend a chosen few. " Her speech," said the Saturday Review 
(October 10, 1863) in a criticism <5f the performance, "is not alto- 
gether free from the Transatlantic accent, and the delivery of her 
more quiet speeches, clearly as they are articulated, is not without 
an appearance of studied formality. But her power ofgjgJidon- 
ment to the influence of a st rong passion is very greatTaScThaving" 
"ffist'niade aS" im^ess ion.^a-b£tLaij2^,pe Ipy hej;_picturesque aspect," 
she nvets tneir attention when they least expect it by theintensity 
" wilh"which she expresses her" emotions. . Her poses, evidently the 
fHsuTf of^aTsbiiiewhat severe' study, are extremely striking ; and the 
peculiar costume which heightens their effect shows that the idea 
of forming part of an effective tableau has been uppermost in the 
young artist's mind. ' Leah ' is not the ' tendency-drama ' that 
' Deborah ' was when it issued fresh from the hands of Mosenthal, 
whose dialogue almost looks like a consommd of the Old Testament. 
On the contrary, the Judaical tone is softened, and a few practical 
expedients bring the work to a more melodramatic level than 
originally belonged to it. But still, for acting purposes, the im- 
passioned, wronged, vindictive, and penitent Jewess remains showy 
and effective as ever. Miss Bateman hurls down the great solemn 
curse with aplomb, and everybody shrinks. She reappears in 
enfeebled condition and murmurs forth forgiveness, whereupon 
everybody weeps. The means to the end are broad rather than 
subtle, but they are forcibly and skilfully employed, and when the 
curtain falls the actress has fairly subjected her audience." 

The play was a great success. Miss Bateman's first engagement 
at the Adelphi terminated Saturday, June 11, 1864. On Monday, 
January 30, 1865, at the same theatre, she played the part of Julia 
in 'The Hunchback.' "We (Daily Telegraph, Yehrnsry i, 1865) 
regard Miss Bateman's performance of Julia as falling short of 


that high standard by which it is apparently the lady's laudable 
ambition to be judged. A fine figure and a command of statuesque 
attitudes will do much to enchain the attention of the eye ; but the 
heart requires to be warmed by that glow of sympathy which is 
only felt when a strong belief is impressed in the reahty of the 
emotions so completely simulated. Miss Bateman is certainly not 
to be charged with a slavish adherence to what is called theatrical 
tradition, and rather too frequently gives a bold renderiiig of 
passages in a manner which is entirely her own ; but taken in its 
entirety the performance lacked that individuality which endows 
with a fresh interest a familiar part. In the mechanism of acting 
Miss Bateman is thoroughly proficient, and the tone with which a 
word is spoken, or the gesture by which it is accompanied, appear 
to have been adopted only after much consideration. The study 
by which certain results are sought to be obtained is, indeed, too 
evident. The natural impulse of the moment is not suggested by 
measured cadences and obviously premeditated movements of the 
hands and arms. The perfection of art lies in the fidelity with 
which nature is presented ; and it is precisely this point of her pro- 
fession which the actress has yet to pass. For this reason the first 
act of the play, where Julia is shown as a guileless girl, happy in 
her rustic retirement, and content with the simple pleasures of a 
country life, was that which was least effective. When town is 
reached, and the giddy maiden, yielding to the frivolities of fashion, 
estranges her affianced lover. Miss Bateman portrayed the influences 
of an artificial life much more accurately. The interview with 
Clifford, where he first appears as the secretary, and which forms 
the crucial test of the actress who plays Julia, was characterized 
by a force of expression which secured the first really deserved 
recognition of an imparted sensation. In depicting the struggle 
between love and pride Miss Bateman somewhat elaborately 
marked the transitions ; but her energy in the deHvery of the fine 
speeches which are allotted to Julia in this scene carried the 
audience with her, and caused the fall of the act-drop to be 
followed by a vigorous recall. The last scene, in which the im- 
passioned appeal is made to Master Walter to release her from the 
engagement to the Earl of Rochdale, was mai-ked by more power 
than delicacy of treatment; but the crowded audience, strongly 
predisposed in her favour, accepted every outburst of feeling as an 
indication of fresh evidence of ability, and as the curtain descended, 
strewed the stage with bouquets amidst vehement applause. That 
Miss Bateman's Julia will prove as attractive as Leah, her most 
sanguine admirers would hardly dare to anticipate. It is a per- 
formance that illustrates the talents of a lady who has assiduously 
cultivated the means at her disposal, but it cannot be described as 
an embodiment which will give the town a new topic for conver- 
sation. The other parts in the play were not sustained in a manner 
likely to overshadow the heroine by their superior excellence." 

The following appears in Journal of a London Playgoer, by 
Henry Morley, Professor of English Literature in University 
College, London, pp. 362-5 : — 


"March 18, 1865.— Having now seen Miss Bateman in two 
characters, one may estimate the measure of her ability. Her acting 
as Julia in ' The Hunchbaclc ' too exactly repeats the impression 
made by her Leah. In Leah it was only for a strain of pathos in 
the last act, and for a few touching notes of the voice there, that 
she was to be credited with a power of pathetic expression that 
came of her own genius, and not of mere stage drilling. But in 
other respects I find Miss Bateman as monotonous in the part of 
Julia as she was in the part of Leah, showing no original ability 
of any sort save when she has to give pathetic expression to her 
voice, and there, and there only, again succe^ing. She says 
marvellously well the words of distress, ' Clifford, why don't you 
speak to me?' but acts lifelessly in the first scenes of country 
simplicity, and almost lumpishly, certainly without a trace of real 
vivacity, in the succeeding scenes of town gaiety, standing almost 
unexpressive while Clifford is cruelly wounding her pride, and put- 
ting only the monotone of her pathos into the few words she utters. 
. . . Now that I have seen her in two plays, I do not hesitate to 
rank Miss Bateman among the clever actresses whose special 
excellence is bounded within limits so narrow that although, once 
carefully and exclusi-^ely presented, it may win for a short time a 
deserved sufccess, it does not enable them permanently to hold their 
own among performers of the highest class." 

In the same year, 1865, on Monday, May 8, Miss Bateman 
appeared as Bianca in a revival of Milman's tragedy of ' Fazio,' 
at the Adelphi Theatre. At Her Majesty's Theatre, on December 
22, 1865, advertised as " her last appearance prior to her departure 
for America and retirement from the stage," she sustained the 
character of Juliet for the first time in London. " Farewell 
benefits, when the actor or actress is an old and well-tried favourite 
of the public, retiring into private life after a prolonged theatrical 
career, are generally very melancholy things. . . Farewell benefits, 
however, when the actress is young, and the retirement is only a 
prelude to a happy marriage, is a very different ceremony ; and 
such a benefit was taken last night by Miss Bateman at Her 
Majesty's Theatre. Miss Bateman came to us a few seasons ago 
with an Anglo-German play, called ' Leah,' and made her first bow 
to an English public (if we except her juvenile performances in 
England) at the Adelphi Theatre. The pastoral simplicity and 
emotional power of the play secured its popularity with mixed 
audiences, not only at the Adelphi, but throughout the country, and 
'the fortunate actress gained a firm footing on the English stage, 
partly by her own merits, and partly by the merits of the drama. 
The unfortunate Jewish heroine became the talk of the town and the 
idol of the picture-shops. Miss Bateman performed other charac- 
ters with more or less success ; but the statuesque grace which 
probably helped to make ' Leah ' popular was hardly so effective in 
' Fazio ' or ' The Hunchback.' The character chosen last night by 
Miss Bateman for her final appearance in England was Juliet. 
... A performance of this nature is beyond the pale of criticism ; 
it would be useless to praise it arid ungracious to condenjn it. The 


house was crowded and friendly ; every entry and every point was 
loudly applauded ; and the balcony and potion scenes were received 
with the loudest applause. Her powerful passages were the most 
effective. ... It is a singular fact connected with Miss Bateman's 
former representation of this character in America that her Romeo 
was Wilkes Booth, the assassin of President Lincoln." {Daily News, 
December 23, 1865.) 

"Those acquainted with the previous performances of Miss 
Bateman would readily surmise in which portion of the tragedy 
her talent was jnost effectively exhibited. It was not as the 
impulsive Italiaji_rnaideD--in-the early awakening of her heart to 
the feelings of an ardent passion that the actress best deserved the 
applause of her admirers. The girlish 'Juliet which Sh akespeare 
has presented to the imaginatiOn-is-ra-Fely-reaKred'OTrthe stag£^ 
The _^balcbriy scene showed rather the statuesque effect of certain 
attitudes, than the d elicate Jenderness^of the . love-inspired jitS^iT" 
who there confesses the warmthroJ"Her_affection. _^In the soliloquy 
^of'tlie fourth act, when the contents of the phial are drainedJI^Wst^ 
the shuddering^ anticipation of the horrors of the charnel-house,_th£^ 
""acffess'was much more successful ; and in portraying the excite- 
j ment of frenzy arrd the desolation of despair Miss BatehianJairly^ _ 

justi hedrth e'WarmtfanDf^ the applause received. The last s£eae_was 
very carelulljTactedJ arid when the curtain fell on the form ai-^uliei~ 
prostrate over 'the body of her lover, the audience would not be 
appeased until both were resuscitated, and the Juliet was bronght 
smiling by Romeo before the curtain to receive the usual compU- 
ment in a more than ordinary emphatic form." {Daily Telegraph, 
December 23, 1865.) 

On Monday, October 19, 1868, Miss Bateman reappeared as 
Leah, in a revival of that play at the Haymarket Theatre, and on 
December 7 of the same year, at the same theatre, she sustained 
the character of Pietra, in an adaptation of Dr. Mosenthal's tragedy 
of that name. At the Haymarket Theatre, June 21, 1869, on the 
occasion of the first performance of Tom Taylor's play ' Mary 
Warner,' Miss Bateman played '.the heroine, Mary Warner, on the 
whole the most finished performance with which she had as yet 
favoured the public. " She does not capture her audience with a 
start, as when she rushes across the Styrian bridge to then fall into 
an attitude singularly picturesque ; but in the dress of very humble 
life she has to begin with the quiet delineation of a very pattern 
wife and mother, and then gradually to render a person whose 
highest virtue appears to be frugality, an object of the most intense 
interest. The scene in the prison, when in a subdued tone She 
almost implores her husband to cheer her with a kind word, is 
singularly beautiful, through the depth of sorrow expressed, and 
the perfect nature of the expression ; and throughout the piece the 
manner is homogeneous. The indignation felt by Ma7y at George's 
supposed contumely is mild in its intensity, and a resignation 
quahfies the almost despair with which she sits down to die at the 
door of her residence. The scene with the child is given with all 
the tenderness which distinguished Leah's interview with the child 


of her rival, and with those additional touches that the change in 
the situation requires." {Times, June 24, 1869.) In the autumn of 
1869 Miss Bateman appeared at Booth's Theatre, New York, as 
Leah, and in the following May (1870) reappeared on the London 
boards at the Olympic Theatre as Mary Warner. In May 1872 she 
again appeared in London in her favourite character of Leah at the 
Lyceum Theatre, and in July 1872 she played there the part oi Medea, 
in an adaptation of the ' Medea in Corinth,' by Mr. W.'G. Wills. 

The Examiner (July 13, 1872) considered that in this impersona- 
tion Miss Bateman greatly surpassed all her previous successes. 
In one or two scenes she was perhaps rather too violent ; but the 
part was admirably suited to her powers, and her acting of nearly 
all of it was admirable. " ' Medea in Corinth ' ought to last her as 
long as ' Leah ' has done ; and when she ceases to play in it, it 
deserves to maintain a lasting place among the best productions of 
modern English dramatists." The Saturday Review of the same 
date, however, entertalined a different opinion of the actress's per- 
formance of Medea. 

In October 1873, in a new drama by Mr. Dubourg, entitled ' Bitter 
Fruit,' first performed at the Alexandra Theatre, Liverpool, Miss 
Bateman played the leading female rSlej and in September 1875, 
in a revival of Shakespeare's tragedy of ' Macbeth ' at the Lyceum 
Theatre (Mr. H. Irving as Macbeth), she played the part of Lady 

In February 1876, at the same theatre, she acted the part of 
Emilia (' Othello ') ; and in April of the same year, first perform- 
ance at the Lyceum Theatre of ' Queen Ma:ry' (Tennyson), Miss 
Bateman sustained the title rdle. " The nature of Mary is a hard 
and unlovely one, albeit weak as water before the shghtest breath 
of Philip, and she is unable, as we see her on the stage, to create 
sufficient interest for her own sake to compensate for the want of 
other interest. This character is represented by Mrs. Crowe, who 
struggles hard with a hard task, and with far more success than we 
confess we should have thought possible. Despite a certain con- 
ventionality of voice and action, which would seem to be rather the 
property of the Lyceum company, her acting must on the whole be 
commended. In the fifth act especially is she to be praised, not 
because she is seen here at her best — in the first act we were most 
pleased with her — but because she does not altogether fail in one of 
the most difficult tasks which, perhaps, were ever set to any actress. 
Nearly the whole of this act is occupied with Mary's death, and 
that Mrs. Crowe was enabled to command the patience of her 
audience in such circumstances speaks, as we conceive, very highly 
for her powers. . . ." {Times, April 20, 1876.) In January 1877, 
in a revival of ' Fazio ' (Milman), at the same theatre, she played 
. Bianca. On Thursday, October 9, 1879, Miss Bateman played 
Helen Macgregor {' Rob Roy ') on the occasion of the opening of 
New Sadler's Wells. 



BEAUMONT, ALLEN,hasfor the last six years been a member 
of the Lyceum company, where he has, under Mrs. Bateman axid 
Mr. Irving's management, appeared in various parts, among which 
may be mentioned the King in 'RicheUeu'; First Player in 
'Hamlet'; Comines in 'Louis XI.'; and Didier in 'The Lyons 

BELFORD, W^ILLIAM ROWLES, was born at Easton, near 
Bristol. He made his first professional appearance on the stage at 
the Adelphi Theatre, Glasgow, in 1847, as Sir Thomas CUjfford in 
' The Hunchback,' having, in the previous year, already acted (as 
an amateur), at Pym's private theatre in Gray's Inn Road, the 
character of Gratiano (' Merchant of Venice '). Mr. Belford was a 
member of the late Mr. Samuel Phelps's company at Sadler's 
Wells for twelve years, and performed during that period in no less 
than thirty-two of Shakespeare's plays, besides several of the older 
comedies presented on its stage. In the year 1855, at the Maryle- 
bone Theatre, Mr. Belford acted Romeo to the Juhet of Miss 
Cushman, and in 1856 went on a provincial tour with the late 
Charles Mathews. At the Strand Theatre in 1856 and 1858 Mr. 
Belford appeared in the following plays, namely, ' Hard Times ' (as 
Harthouse), ' Nothing Venture, Nothing Win ' {Duke de Vendome), 
' The Country Squire' {Horace Selwood), ' Court Favour' {David 
Brown). In the following year he went on tour with Mr. Phelps, 
and acted with him in Berlin, Leipsic, and Hamburg. In i860, at 
the St. James's Theatre, he performed with much success the part 
of Harry Sparkly in ' A Friend in Need,' and, during the same 
year, various parts in Shakespearian and other revivals, for which 
the public were iiidebted to Mr. Charles Kean. In the course of 
thirty years' connection with the metropolitan stage Mr. Belford 
has played many " original " parts in plays of more or less im- 
portance, and has fulfilled engagements at nearly every leading 
theatre. He was well known at the Strand Theatre some sixteen 
years ago as a painstaking and efficient actor in such pieces as 
' My Preserver,' ' Kind to a Fault ' {Frank Goldsworthy), ' Miriam's 
Crime' {Scumley), 'One Tree Hill' {Tom Bubble), &c., &c. On 
the occasion of the opening of the Court Theatre under Miss 
Litton's management, January 25, 1871, Mr. Belford " created" the 
leading role in W. S. Gilbert's comedy ' Randall's Thumb,' and 
at the same theatre sustained the character of Orlick in the dramatic 
version of ' Great Expectations.' More recently Mr. Belford was 
engaged by the late Mr. Charles Calvert, and acted the character of 
Henry the Eighth at several provincial theatres. 

BELL, PERCY, born at Peterborough, January 4, 1848, and 
entered- the dramatic profession in 1869, first appearing on the 
stage at the Theatre Royal, Exeter. After fulfilling various en- 
gagements in the provinces (Leeds, Belfast, Scarborough, &c.), in 
1875 Mr. Bell was engaged at the Royal Edinburgh Theatre, 
and appeared there as Captain Thornton in a revival of ' Rob 
Roy,' and as Dick Evergreen in Charles Mathews's comedy ' My 


Awful Dad.' For his judicious performance of this part Mr. Bell 
was recommended by Mr. Mathews to the management of the 
Gaiety Theatre, London. He made his first appearance on the 
London stage at that theatre, April 17, 1876, in the above-named 
piece, with the late Mr. Charles Mathews in the principal character, 
and was very favourably received. 

After playing the part for a "run" of nearly 100 nights he 
was engaged by Mr. F. B. Chatterton for the season 1876-7, at 
Drury Lane Theatre, performing important parts in 'Richard III.,' 
'Macbeth,' &c., with Barry Sullivan. In September 1877 Mr. 
Bell again played the part of Dick Evergreen on tour with the late 
Mr. Charles Mathews, during which tour Mr. Bell acted as stage- 
manager. In April 1878 he was engaged at the Queen's Theatre, 
London, appearing as Chevalier de Favre in 'Madeleine Morel'; 
and on February 10, 1879, joined the. company of the Duke's 
Theatre, Holborn, to play in ' The New Babylon.' 

BELLEW, HAROLD KYRLE, younger son of the late J. C. M. 
Bellew, the well-known pubhc reader of dramatic and lyrical pieces. 
Mr. H. K. Bellew passed part of his early life in the Mercantile 
Marine; and, subsequently, in 1871, at Melbourne, he appeared 
before the public as reader of a lecture written by Dr. Russell 
{Times correspondent) on the events of tlie Franco-Prussian War. 
In the following year he joined a company of strollers and played 
at the Northern Diggings in New South Wales and Queensland. 
Mr. Bellew first appeared on the stage in England in August 1875, 
at Brighton Theatre, performing the part of Woodstock in ' Clan- 
carty,' and made his dibut in London at the Haymarket Theatre, 
where he was subsequently engaged for a period of three years. 
In 1876, on February 5, he acted there the part oi Lord Percy, first 
performance of Tom Taylor's drama ' Anne Boleyn,' and was after- 
wards in the original cast of Mr. Gilbert's comedy 'Engaged,' 
produced at the same theatre. During the engagement there of 
Miss Neilson in 1878 Mr. Bellew appeared as Claudia (' Measure 
for Measure'), and as Beauseant (' Lady of Lyons'). In January 
1879 he joined Mr. Irving's company at the Lyceum Theatre, 
"opening" as Osric in the very successful revival of 'Hamlet.' 
Mr. Bellew is now (October 1879) ^ member of Miss Litton's 
company at the Imperial Theatre. 

BENTLEY, WALTER (a nom de thddtre), fourth son of the 
Reverend Dr. Begg, of Edinburgh, was born in that city, and 
entered the dramatic profession at Dunedin, New Zealand, in 1870, 
making his first appearance as Potter in Tom Taylor's comedy 
' Still Waters Run Deep.' Subsequently he played at several 
colonial theatres all classes of parts, and for a season was lessee of 
the Prince of Wales's Theatre, Auckland, New Zealand. Arriving 
in England in October 1874, in that month Mr. Bentley first 
appeared before a London audience, at the Royal Court Theatre, 
in the character of Stephen Tickle in Herman Merivale's ' Pea- 
cock's Holiday.' On February 22nd, 1875, he appeared at the 


Princess's Theatre, Edinburgh, as Alfred Evelyn in 'Money,' 
sustaining also, during this and ensuing engagements in other 
Scotch towns, the following characters, viz., Hamlet, Macbeth, 
Richard III., Othello, lago. Shy lock, Claude Melnotte, Richelieu, 
John Mildmay, &c. Mr. Bentley's first important London engage- 
ment was at the Lyceum Theatre, under Mrs. Bateman's manage- 
ment, where he made his dibut as Noailles, the French Am- 
bassador, in Tennyson's ' Queen Mary.' At the same theatre, 
subsequently, he sustained various leading parts in the several 
plays revived and produced during Mr. Irving's engagement, 
notably, Laertes in 'Hamlet,' Lord Moray in 'Charles I.,' 
Christian in 'The Bells,' Clarence in 'Richard IIL,' and Tristan 
LErmite in ' Louis XL' 

BERNARD-BEERE, MRS., daughter of Mr. Wilby White- 
head, of Norfolk, and widow of Captain E. C. Dering, a son of Sir 
Edward Dering, Bart., was a pupil of Mr, Herman Vezin. She 
first appeared on the stage at the Op&a Comique when Mr. 
Kingston was manager of that theatre. After her marriage she 
left the stage for a time, but returning to it gave a very successful 
impersonation of Julia in ' The Rivals' at the St. James's Theatre, 
then under the management of Mr. Hayes. At this theatre Mrs. 
Bernard-Beere played Lady Sneerwell, Grace Harkaway, and 
Emilia with much success. Afterwards she appeared at the 
Royalty Theatre, when Miss Fowler was manager, as Lady Man- 
tonville in ' Scandal,' and at the Crystal Palace as Constance in 
' The Love Chase.' In the autumn of 1878 she made a tour of the 
provinces with Mrs. Chippendale's company, and played leading 
parts. Her principal appearances in London since have been, 
as Constance in ' The Love Chase '- at a morning performance, 
January 25, 1879, at the Olympic; as Lisa in W. S. Gilbert's 
' Gretchen,' March 24, at the same theatre ; as Lady Teazle and 
Lydia Languish at the Hay market ; and at a matinee at the 
Criterion Theatre, May 24, when she took the leading part in a 
comedy called ' Campaigning.' 

BEVERIDGE, JAMES, was born in Dubhn, October 28, 1844, 
and first appeared on any stage August 31, 1861, at the Theatre 
Royal, Oldham. Having studied the various lines of an actor's 
profession at the Theatres Royal, Newcastle-on-Tyne, Glasgow, 
Plymouth, Belfast, &c., he made his dibtit in London, October 3, 
1869, at the Adelphi Theatre, as Lord Alfred Colebrooke, in a 
drama written in collaboration by Messrs. Boucicault and Byron, 
entitled ' Lost at Sea.' At the same theatre Mr. Beveridge played 
various parts, original and otherwise, during the season 1869-70, 
and in the summer of the latter year went on tour with Mr. H. 
J. Byron ; and afterwards, owing to the death, in a railway acci- 
dent, of Mr. Frederick Younge, filled the place of that gentleman 
in Mr. Richard Younge's company of comedians. This engage- 
ment continued for three years, during which time Mr. Beveridge 
sustained various leading characters in the comedies of Mr. T. W. 


Robertson in all the principal towns in the kingdom. In May 
1873, 3.t the Charing Cross Theatre, he was the original Claude 
Ripley, in a comedy of H. J. Byron's, entitled ' Time's Triumph.' 
Afterwards he accepted an engagement at the Lyceum Theatre for 
two years, under the late H. L. Bateman's management. At the 
end of his engagement at the Lyceum Mr. Beveridge fulfilled 
various metropolitan and provincial engagements ; at the Queen's 
Theatre, Manchester, he appeared as Marc Antony in a revival of 
'Julius Caesar.' In the autumn of 1878 he was engaged as stage- 
manager for Mr. Vance's company of comedians, and to sustain 
the character of Beauclerc in ' Diplomacy,' a part which he is still 
(July 1879) playing in the provinces. 

* BILLINGTON, JOHN, was born in 1830. Having earned in 
the provinces the reputation of being a painstaking and efficient 
actor, he made his first appearance on the London stage April 14, 
1857, at the Adelphi Theatre, in the character of Harry Mowbray, 
in a play entitled ' Like and Unlike.' From that date down to 
the year 1868, a period of eleven years, Mr. Billington remained 
a member of the company of the Adelphi Theatre, under Mr. Ben- 
jamin Webster's management. He appeared in nearly every play 
of importance originally performed at that theatre during the 
term of this long engagement. The following, among the various 
" original " parts sustained by him, are deserving of record, viz. : 
Walter, nephew of Michael Cassidy, first performance of ' The 
Poor Strollers' (Watts PhiUips), on Monday, January 18, 1858; 
M. Dubois, first performance of ' Ici on Parle Frangais,' on Monday, 
May 9, 1859 ; Frederick Wardour, first performance of ' The House 
or the Home' (Tom Taylor), on Monday, May 16, 1859; Beau- 
mont Fletcher, first performance of ' One Touch of Nature,' &c., on 
Saturday, August 6, 1859. On Monday, September 10, i860, on the 
occasion of the first performance in London of ' The Colleen Bawn ' 
(Boucicault), he sustained the part of Hardress Cregan. In the 
first performance of ' Magloire, the Prestigiator,' on Monday, April i, 
1861, he performed the character Count VArcy; and on Monday, 
November 18, 1 861, in the first performance in London of ' The 
Octoroon ' (Boucicault), the part of George Peyton. In 1862, on 
Monday, April 14, first performance of Mr. Boucicault's dramatized 
version of 'The Cricket on the Hearth,' entitled 'Dot,' Mr. Billington 
performed the character of Ned Plummer. In March 1863, in a 
version of ' Aurora Floyd,' dramatized by Mr. Benjamin Webster, 
junr., he played John Mellish, and realized the character m a style 
so effective that this eccentric individual became the legitimate 
hero of the drama. " We use the word ' individual ' purposely ; for 
the part is by the actor, and, in the intention of the adapter, in- 
dividualized in the strictest sense of the term ; and the uxorious 
Yorkshire squire, not only fond but proud of being hen-pecked by 
a wife who possesses the business habits in which he is deficient, is 
drawn with a fidelity to nature that does credit to the author and 
actor" (Athenceum, M.a.rch. 2%, i?>6^.) On Monday, Jan. 30, 1865, 
in a revival of ' The Hunchback,' at the Adelphi (Miss Bateman 


as Julia), Mr. Billington played Modus, and in July of the same 
year, first performance of Walter Gordon's play ' Through Fire 
and Water,' sustained the part of Kit Coventry. On Thursday, 
December 26, 1867, first performance at the Adelphi of ' No 
Thoroughfare' (Charles Dickens and Wilkie Collins), he played 
Walter Wilding. In 1868 Mr. Billington's long connection with 
the Adelphi Theatre terminated. Since that date he has princi- 
pally devoted his time to playing " star " parts in the provinces, and 
leading rdles in London. On Monday, October 9, 1871, first per- 
formance at the Olympic Theatre of 'The Woman in White' 
(Wilkie Collins), Mr. Billington sustained the character of Sir 
Percival Clyde. On January 31, 1874, a-t the Adelphi Theatre, 
London, in a drama by Mr. Paul Meritt, entitled ' Rough and 
Ready,' he played the part of the hero, Mark 'Mttsgrave, with 
marked excellence. On Monday, July 19, 1875, ^^ entered upon 
the management of the Globe Theatre for a brief season, and. pro- 
duced there the last-mentioned play, sustaining the same character, 
and] also appearing in his original character of Alfred Cosby, in 
an old comic drama by Mr. Benjamin Webster, entitled ' The Hen 
and Chickens.' 

* BILLINGTON, ADELINE, wife of the above-named, was 
for many years connected with the Adelphi Theatre under Mr, 
Benjamin Webster's management, appearing there in the various 
plays and revivals of plays produced in the decade 1858-1868. In 
August 1859 she sustained the part of Cynthia, in a revival of 
the popular Adelphi drama ' The Flowers of the Forest.' On 
Monday, September 10, i860, first performance in London of 'The 
Colleen Bawn,' Mrs. Billington played the character of Mrs. 
Cregan. On Saturday, March i, 1862, first performance at the 
Adelphi of ' The Life of an Actress,' by Mr. Boucicault, she played 
the part of Julia; and in the same year appeared in the same 
author's dramatized version of ' The Cricket on the Hearth,' entitled 
'Dot.' In March 1863, in a version of 'Aurora Floyd,' by Mr. 
Benjamin Webster, junr., she played the part of Mrs. Powell. On 
Monday, March 8, 1865, revival of Milman's tragedy of ' Fazio,' at 
the same theatre (Miss Bateman in the character of Bianca), Mrs. 
Billington sustained the part oi Aldabella " with great force of style, 
that frequently extorted loud plaudits from the pit." On Monday, 
September 4, 1865, first appearance of Mr. Joseph Jefferson at the 
Adelphi Theatre in his famous impersonation of Rip Van Winkle, 
Mrs. Billington played Gretchen. In 1867, Thursday, December 
26, first performance of 'No Thoroughfare' (Messrs. Charles Dickens 
and Wilkie Collins), she performed the character of the Veiled Lady. 
In 1868 Mrs. Billington and her husband ceased their long con- 
nection with the Theatre Royal, Adelphi. 

On Saturday, September 9, 1871, first performance at the Queen's 
Theatre, Long Acre, of Mr. W. G. WiUs's drama of ' Hinko,' Mrs. 
Bilhngton played the part ai Margaret. In July 1872, production 
at the Gaiety Theatre of Mr. Boucicault's version of Colman's 
comedy 'John Bull,' she sustained the character of Mrs. Brul- 


gruddery. On January 31, 1874, at the Adelphi Theatre, in a 
drama by Mr. Paul Meritt, entitled ' Rough and Ready,' she played 
Mrs. Valentine, and the same character, in a revival of that play 
at the Globe Theatre, Monday, July 19, 1875, during the temporary 
management of Mr. Billington. Since her retirement from the 
company of the Adelphi Theatre Mrs. Billington has, with her 
husband, fulfilled several important provincial engagements. 

* BISHOP, KATE, has been connected with the London stage 
for some twelve years. Her acting of the part of Alice Barlow in 
a revival of Mr. Byron's comedy of ' ;£ioo,ooo ' at the Charing Cross 
Theatre in 1868 received favourable iMtice. In 1869-70 she was 
a member of the company of Miss M. Oliver at the New Royalty 
Theatre, and later was engaged at the Holborn Theatre. On the 
occasion of the opening of the Court Theatre under Miss Litton's 
management, 25th January, 1871, Miss Bishop sustained the part 
of Edith Temple, first performance of W. S. Gilbert's comedy 
' Randall's Thumb.' She also performed with considerable success 
in the other plays produced at that theatre during Miss Litton's 
management — ' Great Expectations,' ' Creatures of Impulse,' &c., 
&:c. Miss Kate Bishop was in the original cast of ' Our Boys,' 
produced at the Vaudeville Theatre on January 16, 1875, in the 
character of Violet Melrose. On the withdrawal of the last-named 
comedy, after an extraordinary "run" extending over a period 
of three years. Miss Bishop " created " the part of Mabel Clench 
in the same author's play 'Our Girls,' first performed at the Vaude- 
ville, April 19, 1879, and subsequently appeared as Ida in the 
revival of ' The Two Roses.' 


BLANDFORD, PERCY (a nom de thMtri), was favourably 
known as a concert singer at Brighton and other provincial towns 
previous to his entering the dramatic professidn. His earliest 
reputation on the stage was gained as Ralph Rackstraw in 
'H.M.S. Pinafore' at the Imperial Theatre. He has since ap- 
peared in the same character at the Olympic with the Comedy- 
Opera Company's artists. 

BLUNT, ARTHUR CECIL. See Cecil, Arthur. 

BOLEYN, RICHARD SMITH (a nom de ihMtre). Born at 
Edgbaston, near Birmingham, He served for a time in the Mer- 
cantile Marine ; but entered the dramatic profession in 1870. Mr. 
Boleyn has been frequently engaged to play leading parts in the 
provinces, viz., at the Theatres Royal, Nottingham, Scarborough, 
and Bradford, and made his first appearance on the London stage 
October 8, 1872, at the Globe Theatre as Major Treherne in 
Byron's comedy ' Cyril's Success.' He subsequently fulfilled a 
short engagement at the same theatre, and afterwards at the St. 
James's Theatre, with success. Mr. Boleyn has been a member 


of the following travelling companies, viz. : the late Mr. H. J. 
'Montague's, playing Albery's comedies ; Mr. R. Younge s, playmg 
Byron's comedies ; in Mr. Duck's so-called ' Our Boys company ; 
and Mr. C. Wyndham's " Crisis " company, of which he was also 


BOND, JESSIE. CHARLOTTE. Born, in London. Pre- 
vious to her appearance on. the stage had attracted favourable 
notice as a pianiste and contralto singer at various public concerts ; 
Hope Hall, Liverpool ; St. James's Hall, London ; the Crystal 
Palace, Sydenham; Free Trade Hall, Manchester, being among 
places where Miss Bond has sang with success. She made 
her theatrical d^but May 25, 1878, at the Op^ra Comique, London, 
in the character of Hel^e, first performance of W. S. Gilbert and A. 
Sullivan's comic opera, ' H.M.S. Pinafore.' At the same theatre 
in the season 1878-9 she played Maria (original) in a vaudeville m 
one act, by Desprez and A. CeUier, entitled ' After All.' 

BOUCICAULT, AGNES {nh ROBERTSON), was an actress of 
juvenile comedy at the Princess's Theatre, London, during the first 
period of the management of Mr. Charles Kean. She appeared 
there during the seasons 185 1-2-3 in 'Our Clerks,' by Mr. Tom 
Taylor ; in a burlesque by the same author entitled ' Wittikind and 
his Brothers,' and as Margaret in. a two-act drama by Mr. Bouci- 
cault, entitled ' The Prima Donna.' " Margaret, a character of 
quite an opposite temperament, a being of girlish impulse, absorbed 
in the object of her passion, and innocently blind to every other 
consideration, was charmingly acted by Miss Robertson, whom we 
almost look upon as a ddbutante, so slight have been the characters 
in which she has hitherto appeared. The scene in which she was 
the invalid, apparently on the limit of the grave, yet trying to' 
sustain her spirits in the presence of her father, was given with a 
.truth and delicacy which left nothing to desire." {Times, September 
20, 1852.) Having previously resided for some years with her 
husband in the United States, performing in the various plays 
written by him, and originally produced there, in the year i860 
Mrs. Boucicault made her reappearance on the London boards. 
On Monday, September 10, i860, first performance in London- of 
'The Colleen Bawn' (Boucicault), at the Adelphi Theatre, she 
played the part of Eily O'Connor, concerning which performance 
the Daily Telegraph (September ir, i860) remarked as follows: 
" Mrs. Boucicault is the same graceful, intelligent actress she ever 
was, and in her embodiment of the charming Irish beauty showed 
that a Transatlantic experience had not lessened the force of her 
talents. Nothing could be more simple and artless than her 
manner as the charming peasant girl, nothing more touching than 
her unrepining sorrow when she feels that her husband no lono-er 
loves her." On Monday, November 18, 1861, Mrs. BouciciTult 
appeared at the same theatre as Zoe, in ' The Octoroon ' (Bouci- 


cault), first performance of that play in London, surprising the' 
pubhc by the force of her dehneation. " Indeed, such a popular 
person was the Octoroon in her hands that several of the audience 
were dissatisfied with her unfortunate end, and refused to under- 
stand why George could not marry his devoted ' Yellow Girl ' in 
one of the many happy States where Louisiana law does not prevail, 
especially as the remittances from Liverpool had set him on his 
legs. To this feeling alone can we ascribe the few sounds of dis- 
approbation which followed the descent of the curtain last night, 
and contrasted so strangely with the enthusiastic applause that had 
accompanied the first four acts." {Times, November 19, 1861.) It 
is interesting to note that the author, in obedience to a very general 
request that Zoe should be saved, altered the drama and brought 
the story to a happy conclusion. The following advertisement 
appeared in the daily papers in the first week of December i86i : 
" Mr. Boucicault begs to acknowledge the hourly receipt of many 
letters entreating that the termination of ' The Octoroon ' should be 
modified and the slave heroine saved from an unhappy end. He 
cannot resist the kind feeling expressed throughout this corre- 
spondence nor refuse compliance with a request so easily granted. 
A new last act of the drama, composed by the public and edited 
by the author, will be represented this evening. He trusts th« 
audience will accept it as a very grateful tribute to their judgment 
and taste, which he should be the last to dispute." 
_ 0n Monda y, February,. io..._i.862. .at Xhesame theatre, Mrs. 
Boucicault piaye5"Th"e leading r6le in ' The Dublin Boy,' a version... 
"Ty^^rTBoucicault oFV^anderTDurch's-' Le Gamin de Paris.' "The 
"■^aractfer^fth^reckless" hero— the mischievous but ggod-heartedlj 
'"^^^^factly suits the mingled dash and delicac):_oi_Mrs. Bouci- ^ 
J^T^It's sb4e!7' XAthenaunij^'FthxviaxY 15, 1862.) Her assumption 
~of the Tnsh patois and the juvenile indifference to consequences "' 
were admirably realized. But when the occasion calls on the lad's 
intrinsic qualities and his undoubted courage, mere vivacity is ex- 
changed for earnestness and determinate purpose, and the excited 
youth nobly vindicates his sister's honour. On Saturday, March i, 
1862, first performance at the Adelphi of the ' Life of an Actress' 
(Boucicault), she played th e part of Violet, Mrs . Boucicault's im^ 
__gersonation of the heroine being nothing lessthan perfect. " Her 
ingenuoiis" ndiveid and the sweetness of her voice, when she appears 
as~the poor "Stfeet" linger, enlist at once all sympathie.s. The 
increased refinement in Her manner after she has become more, 
^"e du c a te d is uiubt deli c ately deliiteated'7~aTrd" although the slight 
— elegancfc of hei figi n-e-dpEynm~SEenr altogether adapted, to the _ 
character of ConieiltgT'^Ke' wears the classic costume with truly 
classic grace. Again, when Violet is falling under the influence of 
the opiate, Mrs. Boucicault's gentle demeanour robs an unpleasing 
situation of more than half its repulsiveness." {Daily Telegraph, 
March 3, 1862.) 

In the same year, at Drury Lane, on September 15, she acted the 
heroine, Jessie, in a spectacular drama by her husband entitled 
' The Relief of Lucknow.' and appeared in the same piece on its 



production by Mr. Boucicault at the Theatre Royal, Westminster 
(Astley's), on Monday, December 22, 1862, and on the same occa- 
sion as Bob Nettles in ' To Parents and Guardians.' On Monday, 
January 26, 1863, at the same theatre she sustained the part of 
Jeannie Deans, first performance of Mr. Boucicault's dramatic 
version of ' The Heart of Midlothian.' " Mrs. Boucicault is charm- 
ingly graceful and natural as Jeannie D(ans,^' remarked the Times, 
(January 29, 1863) ; "so perfectly free indeed from all exaggeration 
and appearance of effort that the arduousness of the character is 
likely to be overlooked. She is content to let the part speak for 
itself when she has embodied its full meaning, and simplicity and 
firmness of purpose are admirably blended. Worthy of especial 
commendation is her conduct in the witness box, where the 
expression of intense anguish is checked by native timidity ; but 
the impersonation is excellent throughout." On Wednesday, 
March 22, 1865, at the Princess's, first performance in London of 
Mr. Boucicault's drama ' Arrah-na-Pogue,' she played the part of the 
heroine, and secured hearty commendation for her acting. At the 
Lyceum, in September 1866, in a play by her husband entitled 
' The Long Strike,' Mrs. Boucicault sustained the character of 
Jane Learoyd. On Saturday, May 4, 1872 (having returned in 
the interval to the United States), she reappeared in London at 
the Gaiety Theatre, in her original part in a play by her husband 
founded on 'La Joie fait Peur,' entitled 'Night and Morning'; 
she acted at the same theatre during 1872 in various revivals of 
Mr. Boucicault's plays. On Saturday, September 4, 1875, first 
performance in London (at Drury Lane) of 'The Shaughraun,' 
she played the part of Moya. In 1878, on Monday, June 10, 
Mrs. Boucicault appeared at the Olympic Theatre in the leading 
female rdle, in a piece dramatized from one of Crabbe's < Tales of 
the Hall,' entitled ' Love or Life.' 

BOUCICAULT, DION, youngest Son of the late S. S. Bouci- 
cault of Dublin, was born in that city, December 20, 1822. He 
was educated partly in Dublin and partly at the London University, 
and became connected with the dramatic profession in the year 
1841, as author of ' London Assurance,' a play in five acts, first per- 
formed at Covent Garden Theatre on Thursday, March 4, of that 
year. The piece was presented to the public as the work of " Mr. 
Lee Morton," and the following were the principal actors in the 
original cast, namely. Dazzle, Mr. Charles Mathews; Sir Harcourt 
Courtly, Mr. Farren ; Charles Courtly, Mr. Anderson ; Lady Gay 
Spanker, Mrs. Nesbitt ; Grace Harkaway, Madame Vestris. The 
Times (March 5, 1841) thus remarked upon the performance:— 
"A five-act piece called ' London Assurance ' was produced last 
night, sustamed by nearly every actor in the company, and each 
part one which the sustainer would, of his own free will, have 
chosen. An easy, flippant man about town, pretending to be a 
relation to everybody on account of a mai-riage between a remote 
ancestor and ancestress, whom he admits in an 'aside' to have 
been Adam and Eve, with much cool impudence, and flexibility of 


limb, is Charles Mathews, under the name of Dazzle ; while his 
friend, a son of Sir Harcourt, Mr. Charles Courtly, a gentleman 
of more stamina and less nimbleness— a puUer-off of knockers in 
the first part, and an ardent lover in the latter part of the drama — 
gives room for the energies of Mr. Anderson. . . . Such a plot 
might seem but meagre to sustain a piece in five acts, but the 
author has contrived to make it a vehicle for oddities both of 
situation and dialogue, and he contrives to keep his audience in a 
roar from the beginning to the end with very few interruptions. 
This is his first attempt in the dramatic line, and he shows us great 
qualification for the art he has chosen — strength, animation, and a 
full flow of spirits. It is true his work is a five-act farce, whereas it 
is called a comedy. ... yet with all this, in the use of his strange 
materials the author has displayed a vivacity, a fearless humour to 
strike out a path for himself^ an enjoyment of fun, a rapidity in 
loading his speeches with jokes, a power of keeping up his spirits tp 
the last, which distinguish this piece from every work of the day. 
.... Mr. Charles Mathews announced the piece for repetition 
amid tumultuous applause, which was only interrupted by calls 
for Mr. Lee Morton, the author, who was led forward eyeing 
the enthusiastig multitude with considerable nervousness." In 
February of the following year Mr. Boucicault produced, under his 
own name at the same theatre, ' The Irish Heiress,' a play which 
was not a success. On Monday, September 19, 1842, was performed 
at the Haymarket Theatre, for the first time, ' Alma Mater ; or, ^ 
Cure for Coquettes,' by Mr. Boucicault. 

"Writing for the stage," said the Athenaum (September 24, 
1842), " is either easy or difficult according to the way in which thie 
dramatist sets about it. To the few who desire to represent human 
life and character in action without violating the consistency of 
nature it is so difficult that the instances of success may be soon 
numbered ; to the mass of playwrights who take the shorter method 
of disregarding truth and originality, and seek their materials, not 
in the world, but in plays, the task ' is as easy as lying ' ; one turn 
of the theatrical kaleidoscope, with the addition of a few bits and 
scraps of modern phantasmagoria, accomplishes the feat. The 
public are taken with the trick and seem never tired of seeing it 
performed ; they like the artificial subjects which they have been 
used to ; nature ' puts them out,' and no wonder since they so 
seldom get a gUmpse of it on the stage which ' holds as 'twere the 
mirror up to itself.' This short way to success, Mr. Bourcicault * 
treads with the ease and confidence of experience. ' London 
Assurance' was a triumph of the instinct of appropriation, and 
though his second attempt proved a failure, it was not without 
merit of the same kind. ' Alma Mater ; or, a Cure for Coquettes,' 
a less ambitious exploit, has been completely successful, if to elicit 
applause and laughter from the portion of the audience whose taste 
was hit, and to be called forward to receive the greetings of 

* Mr. Boucicault used, about this time, to spell his name as it is here 


delighted admirers, be success : why should it not, since the piece 
pleases the public ? and those who live to please must please to 

The Times, September 20, 1842, considered that had this piece 
been one of the highest productions of dramatic genius the success 
could not have been more distinguished. Yet the play was not 
first rate, nor even third rate, indeed, the journal quoted could not 
conceive a more humble effort of a mind accustomed to the busi- 
ness of the stage than 'Alma Mater.' "The whole artifice has 
been to keep the stage in a kind of ' row,' to rattle away all sorts of 
phrases at random, without any regard to the person who has to 
utter them ; and such is the state of a London audience at present 
that there can be found persons not only willing to allow them- 
selves to be carried away for a moment, but even to pay honour to 
this kind of thing. . . . There is one merit which is not to be 
denied to the author, namely, an occasional smartness of dialogue. 
He sometimes utters a rapid series of ' good things ' which produce 
a legitimate laugh. But the worst of it is these good things seem 
to be uttered in the course of saying everything that comes upper- 
most, and there is no doubt that the man who makes up his mind 
to talk away all day, right or wrong, will be sure to pop out a 
brilliant speech .... It professes to be a representation of college 
life .... but it is a representation of no life at all, there is not a 

breath of vitality from beginning to end Wherever we turn 

we meet an old acquaintance, and we are not gratified at the meet- 
ing, because we distinctly recollect that we have seen him look 

riiuch better somewhere else Mr. F. Vining was a sketchy 

reproduction of Gradus in ' Who's the Dupe ? ' and strange to say 

he was called Gradus here The college supper was but a 

scene out of ' Charles O'M alley,' played at the Olympic, and singur 
larly hke one in a piece called ' King O'Neill,' played at this house. 

.... Nothing could be such mere patchwork There is, 

however, one feature in the piece which we would remark before we 
dismiss it altogether, and that is a want of proper feeling, which 

seemed to pervade it It is true that in the most brilliant 

plays of Congreve we are repulsed by an equal want of heart, but 
an author must have all the wit of Congreve, and be able to raise a 
gorgeous structure of epigrams, before he can plead his example as 
an apology. We repeat the audience were delighted ; the author 
had measured them well, and the manager had done his part 

admirably But let us hope that the author, who (if we 

mistake him not) once gave promise of better things, and who last 
night displayed much real wit, may turn his talents to some higher 
purpose than the mere vamping of disjointed, unartistical, and 
rakish extravaganzas, which though they may be uproariously 
hallooed at for a week or two, cannot elicit the approbation of a 
single judicious friend." 

On Monday, October 2, 1843, Mr. Boucicault produced "a 
romantic and sentimental drama," entitled 'Woman,' at Covent 
Garden Theatre. This piece was not successful. On Monday, 
November 18, 1844, he produced at the Haymarket Theatre 'Old 


Heads and Young Hearts.' In a long criticism of this play, the 
Athenaum, November 23, 1844, pubhshed the following: — "The 
talent and wit undoubtedly possessed by the author, and his quali- 
fications in many obvious respects for a successful dramatist, 
induce us to press upon him the necessity of re-examining the 
laws of the species of composition in which up to a certain point he 
has shown himself a skilful student, and by a thorough and de- 
liberate appreciation of its nobler ends he may in his future efforts 
secure a degree of merit to which now he makes but distant 

The Times, November 19, 1844, expressed the opinion that the 
comedy of ' Old Heads and Young Hearts ' was the most amusing 
five-act production that had been seen for years, and that it had 
pleased — honestly pleased — the public to a degree that might defy 
the exertions of any opposing theorist to dispute its claim to popu- 
larity. The improvement which Mr. Boucicault had manifested 
in this piece, as distinguished from those of former times, was 
immense. He used to be addicted to a sort of random writing 
that sometimes turned out well, sometimes the reverse. " Of this 
fault he has entirely cured himself. His piece is carefully written 
throughout, and he has introduced points in his dialogue which 

are worthy of any author The creation of character, strong 

individual character, totally different from any conventional class, 

is not Mr. Koucicault's greatest forte But he can give 

appropriate and characteristic dialogue to personages of a more 
familiar description, and make them vigorously assert their posi- 
tion in his comedy. He loves the stout bustle and equivoque that 
distinguished the intrigue school of comedies, and that he may 
work his characters for these purposes he is inclined to colour 
them, particularly his women, a little coarsely. But how wrong it 
is to be over severe on this point. How difficult it would be to get 
reasonable quantity of action within three hours, without some of 
the characters proceeding with a suddenness which oversteps the 
modesty of nature No drama could have been more suc- 
cessful. And we must say the success was fully deserved. The 
author has produced a work that has nwre elements of popularity 
than any of equal length that we have seen for a long, long time." 

On Thursday, February 4, 1847, Mr. Dion Boucicault produced 
at the Haymarket ' A School for Scheming,' regarded, at the time, 
as one of the author's happiest efforts in dramatic composition. 
The play, however, was but a partial success. On Tuesday, May 2, 
1848, he produced, at the same theatre, a comedietta adapted from 
the French, under the title of ' Confidence ' ; and on Wednesday, 
November 22, 1848, at the same theatre, ' The Knight of Arva.' In 
the year 185 1, 'The Broken Vow,' adapted from the French. 
' L'Abbaye de Castro,' by Mr. Dion Boucicault, was, in February, 
performed for the first time at the Olympic ; and in April of the 
same year he produced at Drury Lane, ' T,he Queen of Spades,' an 
adaptation of the libretto of ' La Dame de Pique.' 

On Monday, June 14, 1852, Mr. Boucicault made his ddbut on 
the London boards at the Princess's Theatre, under Mr. Charles 


Kean's management, in an after-piece in three acts (or " dramas," 
as announced in the play-bills), written by himself, entitled ' The 
Vahipire.' The piece proved fairly attractive, but there were differ- 
ences of opinion as to its merits. "If there is truth in the old 
adage, that 'When things are at the worst they must mend,'" 
remarked the Examiner (June 19, 1852),* "the amelioration of 
spectral melodrama is not distant, for it has reached the extreme 
point of inanity in the new piece which was produced on Monday 
at the Princess's Theatre, under the attractive title of ' The Vam- 
pire.' Its plot is chiefly copied from a piece which, some years 
ago, turned the Lyceum into a Chamber of Horrors ; but it has 
been spun out into three parts, facetiously designated as 'three 
dramas'; the little period of a century has been interposed between 
each part ; and, in order that the outrage on the possible shall be 
complete, the third part is projected forward into the year that will 
be in i860! By this ingenious arrangement, the resuscitation of 
the original Vampire has been enabled to supply the lovers of the 
revolting at the Princess's with three acts of murder — that is two 
consummated, and one attempted ; but, as the delicate process of 
vampirical killing is exactly after the same pattern in each case, 
the horror is quite worn out before the career of the creature ter- 
minates. Nothing but tedious trash remains. . . . The monster of 
absurdity was personated by its reviver, Mr. Boucicault, with due 
paleness of visage, stealthiness of pace, and solemnity of tone ; the 
scener)', especially a moonlit ridge amidst the heights of Snowdon, 
Was beautiful, and the costumes were prettily diversified : but the 
dreaiy repetition of fantastical horror almost exhausted even the 
patience which a benefit enjoins. Unfortunately the mischief of 
such a piece, produced at a respectable theatre, does not end with 
the weariness of the spectators, who come to shudder and remain 
to yawn; for it is not only 'beside the purpose of playing,' but 
directly contravenes it ; and though it may be too dull to pervert 
the tastes of those who witness its vapid extravagances, it has 
power to bring discredit on the most genial of arts." 

The same year, on Saturday, September 1 8, Mr. Boucicault pro- 
duced at the Princess's a new two-act drama, entitled ' The Prima 
Donna' ; and in 1853, in June, at the Adelphi, ' Genevieve ; or, the 
Reign of Tenor,' adapted from MM. Dumas and Maquet's ' Le 
Chevalier de la Maison Rouge.' The same year Mr. Boucicault 
went to the United States of America, and superintended various 
revivals of his plays at Wallack's Theatre, New York; and, in 
November 23, 1853, produced at Burton's Theatre, in the same 
city, a piece entitled 'The Fox Hunt; or, Don Quixote the Second.' 
The success of this play was very considerable, and in a speech 
from the stage, Mr. Boucicault informed his audience that " it was 
his intention to stay in America for a long time, if they would let 
him." In 1854 he produced, in New York, a version of the ' Louis 
Onze' of M. Casimir Delavigne, which was first read by Mr. 

* Compare with 'Journal of a London Phyi^oer, by Henry Morley, 
Prof. Eng. Lit. in Univ. Col. Lond., pp. 54-5. 


Boucicault in Hope Chapel, in that city. Returning temporarily to 
England, on the ist January, 1855, he produced at the Theatre 
Royal, Drury Lane, then under Mr. E. T. Smith's management, 
'Eugenie, a drama; and on Monday, February 5, 1855, at the 
Adelphi, ' Janet Pride,' a play which had been already performed 
•with much success in the United States. (.5"^^ Celeste, Madame.) 
On Wednesday, June 3, 1857, he produced at the same theatre a 
drama under the title of ' George Darville,' which was recognized 
as being full of stage interest, and a very effective drama, " based 
on an extreme moral which affords no hope to crime, but carries 
strictly out the punishment incurred, however the one may be 
delayed or the other repented of.*' 

In September i860 Mr. Boucicault and his wife, Mrs. Boucicault 
{nie Robertson, Agnes), commenced an engagement at the 
Adelphi Theatre, London. The drama produced on the opening 
night, Monday, September 16, was written by Mr. Boucicault, 
and entitled ' The Colleen Bawn.' For its plot he was in the main 
indebted to Mr. Gerald Griffin's Irish story ' The Collegians.' In 
the cast Miss Agnes Robertson (Mrs. Boucicault) was the heroine, 
Eily O'Connor J and Mr. Boucicault, Myles-na-Coppaleenj Mr. E 
Falconer played Danny Mannj Mrs. Billington was Mrs. Cregan; 
Mrs. A. Mellon, Anne Chute j Mr. Billington, Hardress Cregan j 
and Mr. David Fisher, Kyrle Daly. The play was eminently suc- 
cessful. When the novel (' The Collegians ) was yet new, a version 
of it, entitled ' Eily O'Connor,' had been played at one or more of 
the minor theatres. The early version, however, had been long 
forgotten by the public, who found in Mr. Boucicault's work one of the 
best constructed and most striking dramas of domestic life that had 
ever been put upon the stage. " The interest rises as the story pro- 
gresses, and the acts, in accordance with a valuable rule, invariably 
terminate with strong situations. T'he attempted drowning of Eily 
O'Connor, in a very picturesque lake, is, perhaps, too really horrible ; 
but this is a fault on the right side ; and the concluding scene, in 
which Hardress Cregan is first charged with murder, amid the pre- 
parations for his wedding, and is then released on the appearance 
of his supposed victim, is wrought with a skill which none but an 
■experienced dramatist could attain. For himself, Mr. Boucicault 
selects the character of Myles-na-Coppaleen, the plebeian Irishman 
of scampish propensities, who alternates native shrewdness and 
pathos after a fashion familiar to those who are accustomed to the 
theatrical Hibernian. His consummate slyness, his dexterity at 
prevarication, and his evident enjoyment when he feels that he has 
baffled too curious an investigator, are admirably delineated, though 
he is less ' rollicking ' than most of the artists who have shown in 
Milesian character." {Times, September 11, i860.) 'The Colleen 
Bawn' is a genuine Adelphi drama. It presents a succession of 
highly-wrought domestic scenes, introduces many very effective 
situations, and affords good scope to the artist for the display of 
effective pictorial accessories. From first to last it was admirably 
acted. At the close of the Adelphi season 1 860-1, Mr. Benjamin 
Webster announced from the stage that Mr. and Mrs. Boucicault 


had performed in ' The Colleen Bawn ' (in London and the pro- 
vinces) for more than 360 consecutive nights — at that time one of 
the longest " runs," if not altogether the longest, on record. It 
may be added that 'The Colleen Bawn' was first performed in 
New York, with Mr. and Mrs. Boucicault in the characters already- 
mentioned. On Monday, November 18, 1861, Mr. Boucicault pro- 
duced at the same theatre another play originally performed in 
America, entitled ' The Octoroon,' in which he sustained the part 
of Salem Scudder, and his wife that of Zoe, the Octoroon. The 
house was crammed in every nook. " Though the title of the piece 
did not in the least refer to the Green Erin, and the public had 
been made duly acquainted with the fact that the word ' Octoroon ' 
denotes the child of a Quadroon by a white, there was a sort of 
vague notion that another ' Colleen Bawn ' would be presented, so 
completely had the name of the author been identified with that 
most famous of modern dramas. It may be as well, therefore, to 
state that the new piece is not a ' Colleen Bawn,' nor anything like 
a ' Colleen Bawn,' but that it exhibits a picture of life in the 
Southern States, not shown even during the mania for ' Uncle 
Tom.' .... The ' sensation scenes ' which most appeal to the 
public in the representation of 'The Octoroon,' are the slave sale 
that takes place in Peyton's house, and the destruction of the 
steamer by fire. Of these the former is completely novel. Pete, 
an old negro, gives a vein of drollery to the situation by boasting 
his own qualities in order to fetch a handsome price, while the 
competition that arises with respect to Zoe is most exciting. The 
whole body of planters wish to preserve the daughter of their old 
friend, the judge, from falling into the hands of McClosky, even 
Dora, the young lady who has set her heart upon George, coming 
generously forward to the rescue of her rival, till at last the whole 
affair is nearly settled by a skirmish with bowie-knives. The 
acting throughout is very good. Mr. Boucicault, as the shrewd, 
cool Yankee, Salem Scudder, appears in a line, to him, entirely 
new, and succeeds to perfection." {Times, November 19, 1861.) 
During one week in December of this year, the author and his 
wife appeared at the Adelphi in both ' The Colleen Bawn ' and ' The 
Octoroon ' on the same night. The last-named play commenced 
at seven and ended at ten minutes past nine ; ' The Colleen Bawn ' 
followed, and ended at half-past eleven. It has been already 
mentioned (BOUCICAULT, Agnes) that the author in answer to a 
general request modified the original termination of ' The Octoroon,' 
by saving Zoe's life. 

On Monday, February 10, 1862, Mr. Boucicault produced at the 
same theatre ' The Dublin Boy '—a version of Vanderburch's ' Le 
Gamin de Paris'; and on Saturday, March i, 1862, at the same 
theatre, a drama in five acts, under the title of ' The Life of an 
Actress,' which had been already performed in America. Mr. 
Boucicault in this play sustained the character of Grimaldi. " The 
new play was exceedingly successful up to the end of the third act. 
Mr. Boucicault's portraiture of the, by turns, obsequious, courteous, 
and indignant Grimaldi was in all respects a masterpiece of 


histrionic ability. What is technically called the 'make-up' was 
complete ; and his manner throughout was true to the natural 
bearing of a man fallen into misfortune, but conscious of noble 
birth and noble feelings. He showed, too, some extraordinary 
powers. While teaching his pupil he has to point out to her how 
Rachel delivered a particular speech, and finds it necessary to 
resort to the original French. This feat he brilliantly accomplished. 
His nervous anxiety for his debutante's success on the provincial 
stage, and his passionate disappointment when he misses her from 
the next scene and learns the story of her abduction, were both 
admirably delineated. These things place Mr. Boucicault in the 
front rank as an artist of versatile abihties and a comprehensive 

mind We are not quite sure that the drama itself (which is 

partly compilation and partly adaptation) will add much to his 
reputation as a dramatist ; but his reputation as an actor must be 
augmented by the skill and tact with which he has embodied and 
supported the part of its hero." {Atheuceum, March 8, 1862.) In 
the original cast of this play Mrs. Boucicault acted the part of 
Violet, Mr. Toole that of Wopshot (" a low comedian "), and Mrs. 
Billington the rdle of Julia (a " star," leading lady). 

On Monday, April 14, 1862, at the Adelphi, Mr. Boucicault pro- 
duced a dramatic version of Charles Dickens's ' The Cricket on 
the Hearth,' under the title of ' Dot.' Becoming sub-tenant of 
Drury Lane Theatre for a few months in the autumn of 1862, he 
produced there a spectacular drama entitled ' The Relief of Luck- 
now,' in which he sustained the part of Corporal Cassidy. Vacating 
that theatre in December of the same year, on Monday, the 22nd 
of that month, he opened Astley's Theatre as " The Theatre Royal, 
Westminster," and produced on the opening night, ' To Parents 
and Guardians' (in which he played the part of M. Tourbillon), 
and a revival of ' The Relief of Lucknow,' sustaining in this piece 
his original character before mentioned. On October 2nd, 1862, a 
letter was published in the Times over the signature " Dion Bouci- 
cault," advocating improvements in theatre building, and contrasting 
the working expenses, the dinginess, ill-ventilation and general dis- 
comfort of the London theatres of that time with the Winter Garden 
Theatre in New York, which Mr. Boucicault held in 1859. In fha.t 
letter he offered to head a subscription with 5000/. for the purpose 
of erecting a suitable and comfortable London Theatre. It may be 
reasonably assumed that the alterations which Mr. Boucicault 
effected in the general arrangements of old Astley's were in some 
sort to be accepted as a practical exemplification of his views of 
what a house devoted to theatrical entertainment should be. He 
converted the old " ring " into an elaborate arrangement of stalls 
and pit ; the bygone Adelphi system of intermediate " pit stalls " he 
also introduced. The immense size of the salle admitting of greater 
alterations, Mr. Boucicault placed between the stalls proper and 
the orchestra a sort of miniature garden of shrubs, flowers, and 
fountains, the effect of which in hot weather was extremely pleasant. 
Adjoining the theatre, and on the site of what was known as 
" Astlev's cottatre." Mr. Boucicault had nroiected a vast- r.n.f^.. wViirh 


was to be constructed of iron and glass W\^ foyers for promenaders 
between the acts, and an open-air restaurant on the flat Moorish 
roof commanding a view of the river. The affairs of the theatre 
becoming involved in litigation, this part of Mr. Boucicault's scheme 
was left unfulfilled ; but during his short term of management he 
effected immense improvements in the interior of old Astley's. On 
Monday, January 26, 1863, he produced at the Westminster Theatre 
a dramatic version of 'The Heart of Midlothian,' under the title 
' The Trial of Effie Deans,' in which play he performed the part of 
Counsel for the Prisoner. On Wednesday, May 11, 1864, at the 
St. James's Theatre, he produced a drama in five acts entitled ' The 
Fox Chase,' already performed in New York. This play was not 
very successful in London. In the same year, on the sth of August, 
at the Princess's Theatre, he produced 'The Streets of London,' a 
sensational drama, not exactly new to the English boards, the 
substance of it having been supplied by Mr. Stirling Coyne to the 
Surrey stage in 1857, and shortly afterwards to the Strand, by Mr. 
R. Barnett, under the respective titles of ' Fraud and its Victims,' 
and ' Pride and Poverty.' The original, it may be remarked, of 
these adaptations, is a seven-act French drama, entitled ' Les 
"Pauvres de Paris,' by MM. E. Brisebarre and Eugene Nus, acted 
in 1856 at the Ambigu Comique. Before being performed in 
London Mr. Boucicault had produced a version of ' The Streets of 
London ' in New York, and in Leeds and Liverpool. 

On Wednesday, March 22, 1865, at the Princess's Theatre, 
Mr. Boucicault produced, for the first time in London (having 
originally presented it on the stage, in November 1864, in Dublin), 
a drama entitled ' Arrah-na-Pogue ; or, the Wicklow Wedding,' in 
which he sustained the part of Shaun, the Post. "The story in 
this instance, not derived from a novel, but alleged to be the 
dramatist's own invention, is simple in form, but very ingeniously 
treated, so as to afford a diversity of situations, all possessing more 
or less a hold over the sympathies of the audience. Thoroughly 
versed in the important art of construction, and expert at framing 
those effective speeches which convey their purpose in the fewest 
words, the author keeps his characters constantly in action, and 
suffers neither the ear nor the eye to grow weary. The lines 
sparkle sometimes with wit, at others glow with good humour, but 
are always terse, naturally in keeping with the exigencies of the 
situation, and fitted to the characters from whose lips they proceed. 
The principles which command success in dramatic composition, 
and without which the most brilliant dialogue and the most fertile 
fancy would be of little avail, have seldom received a clearer 
elucidation than in the management of the plot of 'Arrah-na- 
Pogue.' . . . "The character of Shaun, the Post, a Wicklow 
carman, which Mr. Boucicault has allotted to himself, is rendered 
with considerable artistic power, guided by a thorough knowledge 
of the peculiarities of the Irish temperament, which finds full 
expression in a mixture of humour and pathos, very felicitously 
depicted. The readiness of repartee, coloured with a tinge of 
poetry, and associated with a warm heart full of trusting con- 


■fidcnce in the girl he loves, gives the actor the fullest possession 
of the sympathies of his audience." {Daily Telegraph, March 23, 
1865.) ' Arrah-na-Pogue ' was a great success, and was repre- 
sented in Paris.'and throughout the French provinces, the United 
States, and Austraha. The French version, ' Jean la Poste ; 
ou, les Noces Irlandaises,' was performed at the Gaietd for 140 

In May 1866, Mr. Boucicault produced at Manchester an " ori- 
ginal " three-act play entitled ' The Parish Clerk,' the piece having 
been written expressly for Mr. Joseph Jefferson. At the Lyceum 
Theatre in London, in September 1866, during the management of 
Mr. Charles Fechter, Mr. Boucicault produced ' The Long Strike' 
(partly founded on the story of ' Mary Barton,' and partly on that 
of ' Lizzie Leigh '), in which he played Johnny Reilly. In the 
same year on Saturday,' October 6, on the occasion of the opening 
of the Holborn Theatre, he produced ' The Flying Scud ; or, a 
Four-legged Fortune ' ; and in November of the same year, at the 
St. James's Theatre, ' Hunted Down,' a drama. (See Herbert, 
Louisa.) In 1868, on Wednesday, August 12, at the Princess's, 
he produced 'After Dark; a Tale of London Life'; and in the 
year following, in May, at the same theatre, ' Presumptive Evi- 
dence,' a drama ; and in August, at Drury Lane, ' Formosa,' a 
drama. In 1870, likewise at the Princess's Theatre, the three 
following pieces from his pen were placed on the stage, viz. ' Paul 
Lafarge ' ; ' A Dark Night's Work ' ; and ' The Rapparee ' ; and in 
December of the same year, at the Holborn Theatre, 'Jezebel ; or, 
the Dead Reckoning,' founded on ' Le Pendu,' a play by MM. 
Michel Masson and Anicet Bourgeois. Neither of these plays was 
altogether successful. After sojourning in the United States for 
a brief period, in 1872 Mr. Boucicault returned to England, and on 
Saturday, May 4, of that year, reappeared with Mrs. Boucicault on 
the London boards at the Gaiety Theatre, in a rendering of ' La 
Joie fait Peur,' entitled ' Night and Morning,' and in their original 
characters in a revival of ' The Colleen Bawn.' During the same 
year at the same theatre, Mr. Boucicault and his wife appeared in 
various revivals of his plays ; and in July in a version by himself 
of Colman's comedy of 'John Bull,' produced also at the Gaiety 
Theatre, Mr. Boucicault sustained the part of Dennis Brul- 
gniddery. In 1874 (June) at the same theatre, he produced 'Led 
Astray,' a play adapted from ' La Tentation,' of M. Octave Feuillet. 
In the following year (Saturday, September 4, 1875) at Drury Lane 
he produced, for the first time in London, ' The Shaughraun,' in 
which he performed the part of Conn O Kelly. "The acting in 
two or three characters was admirable. Mr. Boucicault is pro- 
bably the best stage Irishman that has been seen. It is impossible 
to make drollery more unctuous and blarney more attractive than 
4hey appear in his rendering. To the vitality he imparts to the 
character of Conn the success of the piece is largely attributable." 
{Athenaum, Sept. 11, 1875.) 

In 1876 Mr. Boucicault returned once more to the United States, 
where he resides. It may be said that he reached the climax of 


his fame as an actor and dramatic author in i860 with the pro- 
duction of 'The Colleen Bawn.' His merits as an actor were 
probably best exhibited in that play, in ' The Life of an Actress,' 
and in his later production, ' The Shaughraun.' It cannot be said 
that Mr. Boucicault is entitled to the distinction of being designated 
an original writer. His most popular plays are adaptations ; but 
no modern dramatic author has said better things on the stage 
than has Mr. Boucicault in those plays. 

BRENNAN, MAGGIE, made her d^but on the London stage 
Saturday, November 28, ,i86S, at the Globe Theatre, as the Hon. 
Fred Titeboy in Byron's play, ' Cyril's Success,' performing one of 
those parts in trousers and frock coats, which are so often a snare 
to ambitious actresses, with a self-command and an absence of 
anything like vulgarity which certainly did not suggest immaturity. 
Her acting in the part of the Hon. Fred Titeboy, a musical 
amateur, who is a good-natured but somewhat weak-minded "star" 
of fashionable circles, was indeed clever throughout, and at once 
established her in the favour of the audience. In April of the 
following- year she played the part of Miss Honor Molloy, first 
performance of Mr. T. W. Robertson's comedy, 'A Breach of 
Promise.' " Feminine acting is seldom intrinsically comic. Miss 
Brennan's power of changing her expression, however, is very 
humorous and her mimetic skill ia remarkable." {Athenceum, 
April 17, 1869.) Miss Maggie Brennan has since played original 
parts in various plays, of which the following will suffice as 
examples, viz. 'Formosa' {Earl of Eden), 'On Guard' [Guy 
Warrington), ' Randall's Thumb ' {Miss Spi?tn), &c. 

BRENNAN, MAUDE, sister of the above-named, was born at 
Hurst Castle, Hampshire, in 1855. She became a pupil of Edward 
Stirling, of the Theatre Royal, Drury Lane, in 1869, and entered 
the dramatic profession at the Brighton Theatre in 187 1. After 
a tour through the provinces. Miss Brennan was engaged by Mr. 
W. Sidney for the Prince of Wales's Theatre, Glasgow, 1872, to 
support Mr. Barry Sullivan, and during that engagement played 
various leading parts, including Lady Macbeth. She afterwai'ds 
fulfilled various engagements at the principal provincial theatres. 
Her first appearance in London was made in 1876, at Covent 
Garden Theatre, as Portia in the ' Merchant of Venice.' Subse- 
quently she played at the Gaiety Theatre, Glasgow, under Mr. C. 
Bernard's management, and was by him sent on tour with Mr. H. 
J. Byron. Miss Brennan has lately concluded a " starring " en- 
gagement at Belfast, where she presented the character of Leah 
in the tragedy of that name, with some success. During the latter 
part of 1878 Miss Brennan supported Mr. Henry Irving on his 
provincial tour as "leading lady," appearing as Ophelia (' Hamlet'), 
Julie (' Richelieu '), &c. 

BROMLEY, NELLIE, first attracted notice as an actress in 
burlesque at the Royalty Theatre under the management of Miss 
M. Oliver in 1868. Here she played with some success in 


Burnand's ' Latest edition of Black-eyed Susan,' as Dolly May- 
flower, and the same author's ' Claude Du Val,' as Nitnble Ned. 
In 1 87 1 she was acting at the Court Theatre. In 1873 she was 
engaged at the Gaiety Theatre, and appeared there as Praline 
de Patoche in H. B. Farnie's burlesque ' Nemesis,' and in the 
following year as The Plaintiff, in Gilbert and Sullivan's comic 
opera, ' Trial by Jury.' Miss Bromley was likewise in the original 
cast of ' Pink Dominos,' and first performed at the Criterion 
Theatre, Saturday, March 31, 1877. She acted the part oi Rebecca. 
Subsequently she has been engaged at the Royalty Theatre, 
playing in an extravaganza by E. Rose and A. Harris, entitled 
' Venus.' 

nom de tMAtre), only daughter of the late Robert Brough (better 
known as one of " the Brothers Brough "), the author, was born in 
Paris and entered the dramatic profession in 1869, as a member 
of Mr. Charles Calvert's company at the Prince's Theatre, Man- 
chester. She remained at that theatre for two years, and during 
the engagement played Ophelia (' Hamlet ') with considerable 
success, Mr. Barry Sullivan acting the title rdle. Miss Fanny 
Brough made her first appearance on the London stage at the St. 
James's Theatre, Saturday, October 15, 1870, as Fernande, in 
Sutherland Edwards's adaptation of V. Sardou's play of that 
name, "playing with great intelligence and giving the character 
much sweetness and gentleness" {Examiner, November 12, 1870). 
During her engagement at St. James's Theatre Miss Brough 
appeared as Fanny Parkhouse, the first performance of Albery's 
' Two Thorns,' and as the heroine in Mr. T. W. Robertson's 
comedy entitled ' War,' first performed at the same theatre. She 
also played in the several comedies revived by Mrs. John Wood 
during the first period of that lady's management of St. James's 
Theatre. She was engaged to play leading parts with Mr. R. 
Younge's so-called ' Caste ' company of comedians ; and subse- 
quently appeared at the Prince of Wales's Theatre, London, under 
Mr. and Mrs. Bancroft's management, as Clara Douglas in ' Money' 
on its first revival there. At the Gaiety Theatre, under Mr. J. 
HoUingshead's management. Miss Brough has personated impor- 
tant characters with Mr. Toole and the late Mr. C. Mathews, those 
gentlemen acting the principal rSles. She has been a member of 
Mr. L. J. Sefton's so-called ' Pygmalion and Galatea ' company, 
and more recently (April 1878) of Mr. Duck's ' Our Boys ' company. 
Miss Brough's most pleasing successes on the provincial stage 
have been in the characters of Mary Melrose (' Our Boys ') and 
Ethel Grainger (' Married in Haste '). She has recently (June 
1879) been playing the part of Haidee Burnside in ' The Crisis ' in 
the provinces, and has met with considerable favour. 

BROUGH, LIONEL, was born at Pontypool, Monmouth, loth 
of March, 1836. Son of Barnabas Brough, once well known as a 
dramatic author of some, note, writing under the nom de plume 
of "Barnard de Burgh"; and brother of the late WiUiam and 


Robert Brough (known as "the Brothers Brough"), authors, and of 
the late John C. Brough, some time Secretary of the London Insti- 
tution, and a frequent contributor to scientific literature. Lionel 
Brough began Ufe in the office of John Timbs, when that gentleman 
was editor of the Illustrated London News, and when, among its 
chief literary contributors, were included Douglas Jerrold, Albert 
Smith, Angus Reach, Charles Dickens, W. M. Thackeray; and 
among its artists John Leech and Sir J. Gilbert. He was, in the 
earlier years of its existence, assistant publisher of the Daily 
Telegraph. In that capacity Mr. Brough lays claim to having 
originated the present system of selling newspapers in the streets, 
having organized in London for the Daily Telegraph a staff of 240 
boys for that purpose. He made his first appearance on any stage, 
in December 1854, at the Lyceum Theatre, London, under the 
management of Madame Vestris and Mr. Charles Mathews, in an 
extravaganza by his brother, William Brough, entitled ' Prince 
Pretty Pet,' and a farce, ' My Fellow Clerk.' Leaving the stage for 
a time after the death of Madame Vestris, he returned to the 
Lyceum in 1858, under the management of Mr, Edmund Falconer, 
and in that year played in the ' Siege of Troy ' (burlesque by R. 
B. Brough) under the pseudonym of " Lionel Porter," and in 
Falconer's drama ' Francesca.' He retired from the stage for five 
years, during which time Mr. Brough was on the staff of the 
Morning Star, London daily newspaper, from the date of its first 
publication until its fifth anniversary. Afterwards he gave an 
entertainment in London, of which the piece de risistance was 
' Cinderella,' written by Byron, Leicester Buckingham, the Brothers 
Brough, Frank Talfourd, Andrew Halliday, and others, and pre- 
sented by the authors to Lionel Brough. Subsequently he was at 
the Polytechnic Institution for a year, giving various entertain- 
ments, and was the first who travelled the provinces with the 
" Ghost" exhibition. y Lionel Brough played with the members of 
the Savage Club before the Queen, Prince Consort, and Royal 
Family in aid of the " Lancashire Famine Relief Fund," and after- 
wards in Manchester and Liverpool for the same object. In 
February 1864 he joined Mr. Alex. Henderson's company at the 
Prince of Wales's Theatre, Liverpool, and remained a leading 
member of that company for more than three years. Subsequently 
he was at the Amphitheatre under the respective managements of 
Copeland, and Henderson, and Byron, and then became associated 
with Mr. Saker of the Alexandra Theatre in that town. In October 
1867 Mr. Brough played Dard in ' The Double Marriage ' on the 
occasion of the opening of the new Queen's Theatre in London, 
being recognized as an actor of genuine ability, well deserving the 
favourable reception he obtained. Lionel Brough's first important 
London success was in the character of Ben Garner in Byron's 
comedy, ' Dearer than Life,' first performed at the Queen's Theatre, 
Long Acre, on 8th January, 1868, in which he made one of those 
" hits " which mark a decided stride in the career of a rising actor. 
" Next to the principal part, one of the most striking was that 
assigned to Mr. Lionel Brough, who only wants fair opportunity to 


become one of the most successful comic or character actors of the 
day. His impersonation of the drunken old sot, Ben Garner, was 
marvellously worked out, and at the end of the first act, he more 
than divided the applause with Mr. Toole. All throughout he 
helped the piece by the individuality and the humorous force of 
his impersonation." {Standard, January 9, 1868.) 

Among noteworthy successes achieved by Lionel Brough about 
this time the parts sustained by him in the following plays may 
be selected for mention, viz. : In ' The Lancashire Lass,' ' Not 
Guilty,' the burlesques ' La Vivandifere ' (Gilbert), ' Stranger ' 
(Reece), and ' Foul Play' (Burnand). Under the auspices of Mr. 
J. L. Toole, Lionel Brough travelled some time with the company 
of which Henry Irving was a member. On March 29, 1869, he 
commenced a series of engagements under Mrs. John Wood's 
management, at the St. James's Theatre, performing the character 
of Tony Lumpkin for a " run " of nearly 200 nights, and Paul Pry 
for a run almost equally as long. Mr. Brough played in ' La Belle 
Sauvage ' (burlesque) the part of Captain John Smith, and in ' My 
Poll and My Partner Joe ' (burlesque) the part of Black Brandon, 
each performed . with much success at th? St. James's Theatre. 
Afterwards he joined Mr. Fell at the Holborn Theatre (now " the 
Duke's "), where he played in ' La Vie Parisienne,' ' Petit Faust,' 
and other pieces. In August 1872 Mr. Brough was selected by 
Mr. Boucicault to be " first low comedian " and stage-manager of 
Covent Garden Theatre on the production there of the stage spec- 
tacle of ' Babil and Bijou.' He was subsequently engaged at the 
Gaiety Theatre for a period of twelve months, playing in such 
pieces as ' Bib and Tucker,' ' London Assurance,' &c., and in 
various opera bouffes and burlesques produced there. Mr. 
Brough then -became attached to the companies of the Globe and 
Folly Theatres, playing Blwe Beard (over 300 nights), Robinson 
Crusoe, 5fc. ; and on April 28, 1878, he concluded an engagement 
at the New Royalty Theatre, afterwards, in September 1878, enter- 
ing upon an engagement at the Folly Theatre. During this period 
Mr. Brough played also in various morning performances at the 
Crystal and Alexandra Palaces and at the Aquarium Theatre. At 
the latter place of amusement he repeated his performance of Tony 
Lumpkin, with Mrs, Stirling, Miss Litton, Mr. W. Farren, and Mr. 
John Ryder in the cast. At the latter theatre, renamed, in April 
1879, "The Imperial Theatre," he entered into an engagement, 
as " first low comedian." On April 23, 1879, a new burlesque of 
'The Lady of Lyons' (W. Younge) was produced, Miss Lydia 
Thompson playing Pauline, Mr. Brough Clatide Melnotte. The 
most successful scene in the piece was a pas de deux, in which 
these two struck successive attitudes, interpreted alternately by the 
two performers to the audience, partly in caricature of mythological 
heroes, partly of political leaders of the d^y. 

BROUGHAM, JOHN, was barn May 9, 1814, in Dublin, where 
he was educated with the view of following medicine as a profession. 
This intention, however, was not carried out. Mr. Bjrougham's 


tastes were jnore in the direction of the stage, on which he first 
appeared in the year 1830. The place of his ddbut was the Queen's 
Theatre, now the Prince of Wales's, in Tottenham Street, Totten- 
ham Court Road, London, and the piece in which he first made his 
appearance, Moncrieff's operatic extravaganza, 'Tom and Jerry.' 
During Madame Vestris's management of the old Olympic Theatre 
Mr. Brougham was a member of her " stock " company, and in 
that position earned for himself considerable reputation. He was 
afterwards a member of her company at the Theatre Royal, Covent 
Garden. In 1840 he entered upon the management of the Lyceum 
Theatre, and commenced in the same year his career as a dramatic 
author by the production of an extravaganza entitled ' Life in the 
Clouds,' first performed there. Two years later Mr. Brougham 
went to the United States, where he subsequently took up his 
residence, and followed his profession of dramatist and actor with 
great success.* Returning to London in 1859, ^^ subsequently 
joined the company of the Lyceum Theatre, under Mr. Charles 
Fechter's management, and furnished that admirable actor with 
two of his most popular plays, taken from the French, viz. ' The 
Duke's Motto,' an adaptation of ' Le Bossu,' a romantic drama, by 
Paul Feval, originally performed at the Porte St. Martin, and ' Bel 
Demonio,' founded on a five-act drama called ' The Broken Vow ; a 
Romance of the Times of Sixtus the Fifth,' which, in its turn, was 
taken from ' L'Abbd de Castro.' The first was produced at the 
Lyceum Theatre on Saturday, January 10, 1863 ; the second on 
Saturday, October 31, of the same year. Mr. Brougham was in 
the original cast of both these plays. In ' The Duke's Motto ' Mr. 
Brougham played Carrickfergus, an Irish soldier of fortune ; in 
'Bel Demonio' he acted the character of Cardinal Montalto. " As 
a drama it (' Bel Demonio ') has this quality in common with ' The 
Duke's Motto,' that it interests the audience more by the exhibi- 
tion of a series of extraordinary adventures than by the develop- 
ment of an idea or the delineation of character. . . . While ' The 
Duke's Motto ' and ' Bel Demonio ' are dramas constructed on 
precisely the same principles, the differences between them are not 
in favour of the latter. The adventures of the first six tableaux are 
exciting enough, but in his endeavours constantly to renew an 
interest, the author has made the latter scenes of his play too long. 
. . . Angelo is not nearly so good a part as Captain Lagardfere for 
the display of Mr. Fechter. With the exception of a love scene in 
the third tableau, played with all that ardour which is peculiar to 

* "A class of important characters, the Sir Oliver Surfaces and other 
uncles from India, the Sir Lucius O' 7\iggers and other gentlemen from 
Ireland, are held at Wallack's Theatre [New York] by the gentle and 
genial John Brougham. For more than thirty years the name of John 
Brougham has held a high place in the play-bills of America, as author, or 
actor, or manager, or as all three at once. When he made his first appear- 
ance in New York in 1842 as the ' Irish Lion,' he was at once accepted as 
the successor of the lamented Tyroner Power, who had been lost in the 
steamer 'President' the year before." — Sctibner's Monthly, April 1879, 
p. 781. (' Actors and AcLresses of New York,' by J. B. Matthews.) 


this fascinating actor, and a few passages of patlios on the dis- 
covery of Lena in the crypt, Angelo is rather a thread by which a 
number of incidents are connected together than a character of 
importance on his own account. Indeed, the Cardinal, excellently 
made up and acted by Mr. John Brougham ; and Ranuccio, played 
with bluff humour by Mr. Emery, are the only two marked cha- 
racters in the play." {Times, November 2, 1863.) 

Subsequently Mr. Brougham appeared at the Princess's Theatre, 
and on the occasion of the first performance there, Wednesday, 
March 22, 1865, of Boucica'ult's drama ' Arrah-na-Pogue,' he 
played the part of Colonel Bagenal 0''Grady. Perhaps the most 
favourable example of Mr. John Brougham's powers as a drama- 
tist is found in his comedy ' Playing with Fire,' produced at the 
Princess's Theatre on Saturday, September 28, 1861. Mr. Brougham 
himself sustained the principal character, Dr. Savage. Enough 
was known of the previous fortunes of the piece to awaken con- 
siderable curiosity as to its merits. It had been produced with 
great success in America, and though a New York theatre is 
scarcely regarded as a passport office that will secure the hos- 
pitable reception of a drama in ,the old country, this particular play 
had been mentioned in such remarkably high terms that much was 
expected of it. A subsequent performance in Manchester had 
procured from a public claiming some authority in theatrical 
matters a confirmation of the verdict pronounced in the United 
States. ' Playing with Fire ' was in all respects a legitimate suc- 
cess. Mr. Brougham was heartily welcomed, and made a most 
favourable impression. 

BRUCE, EDGAR, entered the dramatic profession in 1868, 
making his first appearance at the Prince of Wales's Theatre, Liver- 
pool, where he subsequently acted for a season. He made his ddbut 
on the London stage August 30, 1869, at the Strand Theatre, as 
Chateau Renaud, in a burlesque entitled ' The Pilgrim of Love.' 
" After two years' hard work in the principal country theatres and 
in London," Mr. Bruce became, in 1871 (August), a member of the 
" Wyndham Comedy Company," performing in America, and played 
leading parts in various theatres in the United States and Canada, 
his most successful impersonations during this engagement being 
D'Alroy and Haw tree, in 'Caste'; Mc A lister and Chalcot, in 
'Ours'; and Lord Beaujoy, in 'School.' In March 1873 Mr. 
Bruce joined the company of the Court Theatre, where he appeared 
in the following among other plays : ' About Town,' ' Marriage 
Lines,' 'Alone,' 'Wedding March,' &c., &c. In March 1875 he 
was Sngaged at St. James's Theatre. The same year, in June, he 
opened the Haymarket Theatre under his management for a season 
of six weeks ; and on 21st February of the following year (1876) 
the Globe Theatre, producing there a drama, founded on Charles 
Dickens's novel ' Bleak House,' entitled ' Jo,' with Miss Jennie Lee 
in the title rdle. At the same theatre during the following season 
Mr. Bruce produced ' Cora,' with Mrs. Herman Vezin in the 
leading character. During the early part of 1878 he acted the 


character of Greythorne (in succession to Mr. Wyndham) in ' Pink 
Dominos' at the Criterion Theatre, and afterwards went on tour 
with Mr. George Honey to play in Gilbert's comedy ' Engaged.' 
In April 1879 Mr. Bruce entered on the management of the 
Royalty Theatre, and " opened " on the 14th of that month with 
"A Comedy of the Day, in three acts," entitled ' Crutch and Tooth- 
pick,' adapted by Mr. Geo. R. Sims. The piece proved successful. 

*BRUCE, EDITH, began her theatrical career in the provinces, 
and made her first London appearante at Covent Garden Theatre, 
August 29, 1872, as Wanda in ' Babil and Bijou.' She performed 
at the Strand Theatre, for two seasons at Brighton, and afterwards 
at the Criterion Theatre, at the latter of which she exhibited some 
amusing qualities as Parker in 'The Great Divorce Case.'^ The 
principal plays in which she has since appeared at the Criterion 
Theatre are, ' Hot Water,' ' On Bail,' and ' The Pink Dominos.' At 
the Crystal Palace she played the leading parts in some of the 
pantomimes produced there, and also performed in several of the 
plays presented there under the management of Mr. Charles Wynd- 
ham. She was engaged by Miss Fanny Josephs for the Olympic, 
and is now (October 1879) a member of the Gaiety Company. 

BUCKSTONE, JOHN BALDWIN, was born at Hoxton, near 
London, September 1802, and entered the dramatic profession in 
the year 1821 as member of a travelling company of players, and 
first appeared upon the stage at Wokingham, Berks. He made his 
ddbut in the part of Gabriel in 'The Children of the Wood.' After- 
wards he joined the " Faversham, Folkestone, and Hastings Cir- 
cuit," and remained a member of that association for three years. 
At the anniversary dinner of the Royal General Theatrical Fund in - 
1855, Mr. Buckstone, in proposing the toast of the evening, gave 
the following amusing account of his earlier struggles as an actor. 
" I am enabled," said he, " truly to depict what performers endure, 
because I was a country actor, and, amongst other vicissitudes, 
once walked from Northampton to London — 72 miles — on i^^d. I 
had a companion in the same plight, and on comparing our pecu- 
niary resources we discovered ourselves masters of the sum oigd. — 
4iif. each. As it may interest 5'ou, gentlemen, I will describe my 
costume on that occasion, and how we got to London. My costume 
consisted of a threadbare whity-blue coat, with tarnished metal 
buttons, secured to the throat, because I wore underneath what we 
term a flowered waistcoat, made of glazed chintz, and of a very 
showy pattern, generally adopted when playing country boys and 
singing comic songs, which at that time was my vocation. I»^vill 
not attempt to describe my hat ; while my trousers must only be 
delicately alluded to, as they were made of what was originally 
white duck, but as they had been worn about six weeks, and having 
myself been much in the fields, there was a refreshing tint of a 
green and clay colour about them, which imparted to that portion 
of my attire quite an agricultural appearance. I carried a small 
bundle. I will not describe its entire contents, except that it held 


a red wig and a pair of russet boots. Under my arm was a 
portfolio, containing sketches from nature and some attempts 
at love poetry ; while on my feet, to perform this distance of 72 
miles, I wore a pair of dancing-pumps, tied up at the heels with 
packthread. Thus equipped, I started with my companion from 
Northampton, and before breakfast we accomplished 15 miles, 
when we sat down to rest ourselves under a hedge by the roadside. 
We felt very much disposed to partake of the meal I have alluded 
to, but were rather puzzled how to provide it. Presently a cowboy 
appeared, driving some lazy, zigzag-going cows, and carrying two 
large tin cans containing skimmed milk. We purchased the con- 
tents of one of the cans for one halfpenny. A cottage was close 
at hand, where we applied for bread, and procured a very nice, 
though rather stale, half-quartern home-baked loaf for one penny. 
The cowboy sat by us on that roadside to wait for his can. The 
cows seemed to regard us with a sleepy look of mingled pity and 
indifference, while with the bottom crust of that loaf and three 
pints of skimmed milk I assure you I enjoyed the roadside break- 
fast of that summer morning more than I have enjoyed the sump- 
tuous banquet of this evening. On the first day we walked 40 
miles, in which my pumps and what they covered, as the Yankees 
say, ' suffered some.' Our bed for the night was in one of those 
wayside hostelries called ' a lodging-house for travellers,' for which 
accommodation we disbursed twopence. Late in the evening of 
the next day we completed the remaining 32 miles, and found 
ourselves at the ' Mother Red Cap,' at Camden Town, with enough 
in our pockets to procure half a pint of porter. Thus you see, 
gentlemen, I have experienced some of the vicissitudes of a country 
actor." Whilst strolling Mr. Buckstone made the acquaintance of 
the late Edmund Kean, to whose encouragement he owed, in some 
part, his early success as a comedian. His first appearance on the 
London stage took place at the Surrey Theatre in' the year 1824, 
in the part of Peter Smink in a play entitled ' The Armistice.' 
Having shown considerable abihty in the line of low comedy at 
that theatre Mr. Buckstone was offered various engagements in 
London. He became connected with the company of the old 
Adelphi Theatre in 1828, in the days of Frederick Yates and John 
Reeve, and first appeared there as Bobby Trot in his own drama of 
' Luke the Labourer.' At this and a somewhat later period of his 
career Mr. Buckstone devoted much of his time to writing and 
adapting pieces for the stage, and especially for the Adelphi and 
Haymarket Theatres. For the first-named he wrote two plays in 
particular— ' The Green Bushes,' first performed at the Adelphi, 
January 27,"! 845, and 'The Flowers of the Forest,' produced March 
II, 1847 — which still remain important examples of popular English 
melodrama. To these may be added a lengthy list of comedies, 
dramas, and farces, some of which in their day attained consider- 
able popularity. Among the number may be specially mentioned 
a drama entitled ' The Wreck Ashore,' first performed at the last- 
named theatre in October 1830. On the 5th of March, 1832, was 
produced at the Adelphi a domestic drama entitled ' Forgery ; or, 

F 2 


the Reading of the Will,' by J. B. Buckstone ; spoken of in 
contemporary journals as " a good story with some powerful situa- 
tions, well relieved by the broad comicalities of Mr. Buckstone." 
In the year 1833 he produced at the same theatre a successful 
three-act piece founded on Cooper's novel, ' The Bravo.' The same 
year at the Haymarket he produced a drama entitled ' Ellen 
Wareham '; the heroine acted by Mrs. Yates. Wednesday, July 17, 
1833, he acted at the Haymarket in a piece by Douglas Jerrold— 
then performed for the first time— entitled 'The Housekeeper ; or, 
the White Rose,' described as " a love story, the hero and heroine 
(Mr. F. Vining and Miss Taylor) being mixed up with a portion of 
the poUtical intrigues of the early part of the reign of George the 
First." Both Mr. Buckstone and Mr. Benjamin Webster were in 
the original cast. 

The following month Mr. Buckstone performed at the same theatre 
with the late Mr. Charles Mathews, the younger, in one of many 
plays written by that admirable comedian, entitled ' Pyramus 
and Thisbe '; and in the following October in a piece from his own 
mirth-provoking pen, entitled ' Uncle John.' Besides the author 
himself, the elder Farren, Benjamin Webster, and Mrs. Glover 
were in the cast. In the month of January 1834 was produced 
" with complete success," at the Adelphi Theatre, a drama entitled 
' Thirty Years of a Woman's Life,' by J. B. Buckstone ; and the 
same year at the Haymarket he produced the two following plays, 
viz. ' Rural Felicity ' and ' Married Life.' In the latter Mr. Buck- 
stone himself acted, together with Mrs. Faucit, Mrs. Glover, and 
Mrs. Humby, and Messrs. Farren and F. Vining. In November 

1834 Mr. Buckstone produced, at the Adelphi, a drama entitled 
' Agnes de Vere ; or, the Broken Heart,' adapted from the French, 
in which he and Mrs. Keeley sustained the comic parts ; and the 
following month, at the same theatre, a dramatization of ' The 
Last Days of Pompeii.' Of this effort it is stated in a contemporary 
journal, that " it was enthusiastically received, and will draw, no 
doubt, plenty of money to the theatre." About this time Mr. 
Buckstone was permanently enrolled a member of the company of 
the Haymarket Theatre, as its principal low comedian, and con- 
tinued to provide for that theatre farces " bearing the droll impress 
of the broad Buckstonian stamp." In June 1835 he produced 
there ' Good Husbands make Good Wives '; and in July 1835, 
' The Scholar,' an adaptation from the French. In November 

1835 was performed for the first time, at the Adelphi Theatre, 
' The Dream at Sea,' an original three-act drama by J. B. Buckstone. 
In January 1838 he produced two new farces in the same week; 
viz., at the Olympic, ' Shocking Events,' and at Drary Lane, ' Our 
Mary Anne.; In May 1838 was performed at the Haymarket, for 
the first time, a clever little farce called ' The Irish Lion,' by J. B. 
Buckstone—" a hit at the absurd fashion now prevalent of exhibiting 
at soirhs and evening parties a literary Hon on all occasions." 

In the year 1840 Mr. Buckstone fulfilled a farewell engagement 
at the Haymarket Theatre, previous to visiting the United States 
of America, whither he went in June of that year, and whence he 


returned in the summer of the year 1842. His American tour was 
but a partial success. 

■iir^i *^^i ^^y^^i'ket " Buckstone showed his comic phiz again on 
Wednesday, after his long absence in America, and literally ' tipped 
the wmk ' to the audience, who responded with a roar of laughter. 
After playing Dove in his own grotesque piece, ' Married Life,' he 
was called forward, and expressed, in a becoming and feeling 
manner, his acknowledgments of the welcome." {Athencsum, 
October 22, 1842.) 

During the seasons 1842-3-4 Mr. Buckstone was playing at the 
Haymarket in various French vaudeville pieces and dramas written 
principally for Madame Celeste ; and in the latter year he played 
Grumio in a revival of ' The Taming of the Shrew.' On June 18, 
1844, the long anticipated prize comedy of Mrs. Gore, entitled 
' Quid pro Quo ; or, the Day of Dupes ' i^see Webster, Benjamin), 
was produced at the Haymarket, Mr. Buckstone being in the 
original cast. November 18, 1844, he played the "original" .5o(5, 
first performance at the Haymarket of Dion Boucicault's play, 
' Old Heads and Young Hearts.' In September 1845 he played 
the part oi Sir Peter Redwing, first performance at the Haymarket 
" of an original comic drama by the author of ' Paul Pry.' " January 
6, 1846, first performance of Benjamin Webster's dramatic version of 
' The Cricket on the Hearth,' he played the part of Tilly Slowboy ; 
and, during the same year, Golightly, first performance of the 
now well-known farce, ' Lend Me Five Shillings '; Dan, in a revival 
of 'John Bull'; and Sir Andrew Aguecheek ("most effectively 
played "), in a revival of ' Twelfth Night,' with the two Misses 
Cushman as Viola and Olivia. 

For many years the weight of the farces produced at the Hay- 
market rested on the shoulders of Mr. Buckstone, and he was 
constantly being received before the curtain and " greeted with 
roars of laughter and shouts of applause." Thursday, February 4, 
1847, he played The MacDunnicm of Dunnum, first performance 
at this theatre of Dion Boucicault's comedy, ' A School for 
Scheming.' After taking a farewell benefit at the Haymarket, 
Wednesday, July 21, 1847, on which occasion he sustained the 
part of Scrub in ' The Beaux' Stratagem ' (at that time one of Mr. 
Buckstone's most famous impersonations), in the month of October 
following he joined the company of the Lyceum Theatre, then 
under the management of Madame Vestris and Mr. Charles 
Mathews. Monday, Noveniber i, 1847, was produced there "an 
amusing interlude" entitled ' Box and Cox,' by Mr. Morton, "with 
the evident purpose of giving Mr. Buckstone and Mr. Harley some 
special fun to enact." Tuesday, December 7, 1847, Mr. Buckstone 
took a part, with all the eminent actors of the day, in the special 
Shakespearian performances arranged for prpviding a fund for the 
purchase of Shakespeare's house at Stratford-on-Avon. On that 
occasion he played Speed (' Two Gentlemen of Verona,' act iii., 
sc. i). In the season 1848-9 he had returned to the Haymarket 
Theatre, and was there playing in the Shakespearian revivals 
introduced during the temporary engagement of Mr. and Mrs. 


Charles Kean. Saturday, June 2, 1849, revival of ' Macbeth,' Mr. 
Buckstone sustained the part of one of the Weird Sisters— be it 
recorded, much to the amusement of the audience and to the no 
little dismay of the principal performers concerned. Thursday, 
July II, 1849, he produced at the Haymarket "one of the raciest 
little dramas imaginable," under the title ' An Alarming Sacrifice,' 
in which he himself performed the part of Bob Ticket. Tuesday, 
October 30, 1849, '"'as performed for the first time at the Hay- 
market ' The Serious Family,' adapted from the French ' Le Mari 
k la Campagne,' in which Mr. Buckstone personated the character 
oi Ammadab. Sleek with great success. 

In January 1850 (Tuesday, the 15th), Mr. Buckstone produced 
at the Haymarket a domestic drama, which was eminently success- 
ful, entitled ' Leap Year.' In this play he himself acted, together with 
Mr. and Mrs. Charles Kean. The same year he played (in April) 
Moses, in Stirling Coyne's dramatic version of ' The Vicar of Wake- 
field ' ; and (in May) Apple/ace, first performance of Douglas 
Jerrold's comedy 'The Catspaw.' Saturday, February 12, 1853, 
first performance at the Haymarket of Lord Lytton's play, ' Not So 
Bad As We Seem,' Mr. Buckstone sustained the part of Shadowfy 
Softhead. {See Webster, Benjamin.) " Mr. Buckstone abounded 
in that rich and eccentric humour with which he usually vitalizes 
absurdity, and which, in this instance, gave the effect of a full- 
length portrait to a simple and meagre sketch." {Athenaum, 
February 19, 1853.) In the year 1853 Mr. Buckstone entered 
upon the lesseeship and management of the Theatre Royal, Hay- 
market, on the retirement of Mr. Benjamin Webster, and from 
that lime to the year 1876 devoted himself largely to managerial 
duties. On Easter Monday, 1853, he opened the theatre with the 
following company, viz. : Mr. Barry Sullivan, Mr. Compton, Mr. 
Chippendale, 'Mr. Corri, Mr. Howe, Mr. Wm. Farren, junr., Mr. 
Tilbury, Mr. Rogers, and Mr. Arthur Payne ; and Miss Reynolds, 
Miss Louisa Howard, Mrs. Buckingham, Mrs. Poynter, Mrs. 
Stanley, Miss A. Vernon, Miss E. Romer, Miss A. Vining, Mrs. 
Caulfield, Miss E. Bromley, Miss Grace Leslie, and Miss Laidlaw. 
The opening performances were ' The Rivals,' and a new and 
original extravaganza by Planchd, entitled ' Buckstone's Ascent of 
Mount Parnassus.' Mr. Buckstone expressed his intention of con- 
fining the performances of the theatre as far as possible to comedy 
and farce, which constituted its principal characteristics in former 
periods. Saturday, May 20, 1854, in pursuance of this resolve, he 
produced ' The Knights of the Round Table,' by J. R. Planchd 
The piece had the advantage of admirable acting ; Mr. G. Vandenhoff 
and Mr. Buckstone being selected for special praise. " Tom Tittler, 
vi'ho combines the usually separate functions of ' funny man ' and 
Deus ex machind, and who is in his latter capacity the natural foe 
to the clever captain, is a most gallant little fellow in the hands of 
Mr. Buckstone, and it should be observed that that grotesque style 
which is so irresistibly droll in so many of the actor's comic parts 
is here in a great measure suppressed. Mr. Buckstone crives us 
a specimen of sound legitimate acting, in which the oddity of the 


poor but valiant Tittler by no means obscures the chivalric founda- 
tion of his character." {primes, May 22, 1855.) 

Among noteworthy plays first performed at the Haymarket during 
the period of nearly a quarter of a century Mr. Buckstone held the 
reins of management, the following are entitled to mention, viz. 
on Wednesday, July 8, 1857, a comedy entitled ' The Victims,' by 
Mr. Tom Taylor; on Saturday, November 7, 1857, 'An Unequal 
Match,' by Mr. Tom Taylor, in which Mr. Buckstone played the 
part of Dr. Botcherby; on Saturday, April 2, 1859, a comedy by 
Mr. Stirhng Coyne, entitled 'Everybody's Friend,' in which Mr. 
Buckstone was the original Major Wellington de Boots; June 29, 
1859, a comedy by Mr. Tom Taylor, entitled ' The Contested 
Election,' in which Mr. Buckstone played Mr. Peckover ; on 
Thursday, February 23, i860, ' The Overland Route,' by Mr. Tom 
Taylor, in which Mr. Buckstone was the original Lovibond; on 
Wednesday, May 9, i860, 'The Family Secret,' by Mr. Edmund 
Falconer, Mr. Buckstone as Bubble; on Saturday, May 10, i860, 
'The Babes in the Wood,' by Mr. Tom Taylor, Mr. Buckstone 
performing the part of Beetle; Monday, April 22, 1861, a comedy 

-entitled ' Black Sheep,' by Mr. Stirling Coyne, in which Mr. Buck- 
stone played the character of Mr. Bunny ; on Monday, November 
II, 1861, 'Our American Cousin,' a comedy- by Mr. Tom Taylor, 
Mr. Buckstone as Asa Trenchard; on Monday, March 10, 1862, 
' The Wife's Portrait," by Dr. Westland Marston ; on Saturday, 
November 14, 1863, a play entitled 'Silken Fetters,' by Mr. 
Leicester Buckingham; on Saturday, April 30, 1864, 'David Gar- 
rick,' by T. W. Robertson, in which Mr. Buckstone was the 
original Squire Chevy; on Monday, June 13, 1864, 'Lord Dun- 
dreary Married and Done For'; in May 1865, 'Brother Sam,' 
in which Mr. Buckstone played Mr. Jonathan Rumbelow j on 
Monday, April 2, 1866, Dr. Westland Marston's comedy 'The 
Favourite of FortunCj' in which Mr. Buckstone sustained the part 
of Tom Sutherland; on Saturday, March 14, 1868, ' A Hero of 
Romance,' by Dr. Westland Marston, Mr. Buckstone playing Dr. 
Lafltte; on Monday, October 25, 1869, 'New Men and Old Acres,' 
by Mr. Tom Taylor, in which Mr. Buckstone was the original 
Bunter; on Saturday, November 19, 1870, 'The Palace of Truth,' 
by Mr. W. S. Gilbert; on Saturday, December 9, 1871, a comedy 
entitled ' Pygmalion and Galatea,' by the same author ; on Satur- 
day, January 4, 1873, ' The Wicked World,' by the same ; and on 
Saturday, January 3, 1874, a play called ' Charity,' also by the 
same author. 

It may be said that Mr. Buckstone has played almost all the 
principal low comfedy parts of the English Drama presented on the 
London stage within living memory. His name will be inseparably 
associated with some of the more amusing characters in the higher 
range of old EngKsh comedy, such, for example, as Grumio, Speed, 

' Touchstone, Sir Andrew Aguecheek, Zekiel Homespun, Scrub, 
Tony Lumpkin, and Bob Acres; and it may be added that the 
varied attributes of those characters have invariably received at his 
hand the happiest illustration. Since the year 1877 Mr. Buckstone 


has ceased to take any active part in the duties of his pro- 
fession. In August 1879, through the generosity of Mr. J. S. 
Clarlie, lessee of the Haymarket Theatre, a series of five benefit 
performances were arranged at that house as a testimonial to Mr. 
Buckstone. [Mr. Buckstone died on October 31, 1879, while this 
edition was passing through the Press.] 

BUCKSTONE, JOHN COPELAND, son of the above-named 
J. B. Buckstone, was born December 9, 1858. He made his first 
appearance on the stage at the Gaiety Theatre, Dublin, April \-], 
1876, when a menjber of Mr. and Mrs. Chippendale's company, as 
Bertie Fitzurse in ' New Men and Old Acres.' During two pro- 
vincial tours with the same company he played walking gentleman 
parts in old and modern comedy. His jiext engagement was with 
Edward Terry, when he played Arthur Medwyn in Byron's 'Weak 
Woman,' Frank Hardy, &c., at the Aquarium Theatre, West- 
minster, and in the country. On June 11, 1877, he accompanied 
his father on his farewell tour ; and on September 20 of the same 
year sailed for India with Mr. George Anderson's company, where 
he played a five months' season at the Corinthian Theatre, Cal- 
cutta, appearing during that time in several well-known characters. 
On his return to England he accompanied Mr. Chippendale on 
his farewell tour, commencing at Birmingham, September 2, 1878, 
and playing Master Trueworth, Charles Courtly, Sir Benjamin 
Backbite, Sir Charles Cropland, &c. On his return to town he 
was engaged by Mrs. Bernard-Beere for her series of matinees 
at the Olympic Theatre, commencing January 25, 1879. After 
playing for a short time at the Folly Theatre, he was engaged by 
Mr. J. S. Clarke to sustain the part of Henry Moreland in ' The 
Heir-at-Law ' during its run at the Haymarket Theatre, commenc- 
ing August 25, 1879. Mr. J. C. Buckstone has also played at various 
times at the Alexandra and Crystal Palaces Young Marlow in ' She 
Stoops to Conquer,' the Hon. Augustus Adolphus in 'Extremes,' 
and in other parts. 

BUCKSTONE, LUCY ISABELLA, daughter of the above- 
named J. B. Buckstone, was born in 1859. She made her first 
appearance on any stage at the Croydon Theatre as Gertrude in 
' The Little Treasure,' and afterwards accompanied her father and 
Mr. Sothern on a provincial tour, appearing at the Theatre Royal, 
Dublin, in the following characters, viz. Florence Trenchard in 
' Our American Cousin '; Lucy Dorrison in ' Home '; and Ada 
Ingot in ' David Garrick,' in which part she made her debut at 
the Haymarket Theatre, on December 26, 1875. Miss Buckstone 
subsequently accepted an engagement at the Lyceum Theatre, 
where she played Annette in ' The Bells,' and, in a revival of 
' The Belle's Stratagem' in June 1876, the part of Lady F. Touch- 
wood. During the same year she appeared at the Prince of Wales's 
Theatre as Lucy Orniond in 'Peril.' On January 6, 1879, at St. 
James's, Piccadilly, INliss Buckstone was married to Mr. H. E. 


BUFTON, ELEANOR (Mrs. Arthur Swanborough), was 
born in Wales in 1840. She became connected with the stage at a 
very early age, and made her professional dSut at Edinburgh as the 
Servant in ' The Clandestine Marriage.' Shortly afterwards Miss 
Bufton came to London, and made her first appearance on the 
metropolitan boards at the St. James's Theatre. Subsequently she 
became a member of the company of the Princess's Theatre, under 
Mr. Charles Kean's management, and appeared in various Shake- 
spearian plays produced there by that distinguished actor. In 
A Journal of a London Playgoer, Henry Morley, p. 156, appears the 
following entry: — "October 25, 1856. — The beautiful mounting of 
the ' Midsummer Night's Dream ' at the Princess's Theatre attracts, 
and will attract for a long time, crowded houses. The words of 
the play are spoken agreeably, some of the sweetest passages 
charmingly, and much of Shakespeare's delicate pleasantry is made 
to tell with good effect upon its hearers. The ' Midsummer Night's 
Dream' is full of passages that have only to be reasonably well 
uttered to be enjoyed even by the dull; and with so fair a Hermia 
as Miss Bufton, so whimsical a Bottom as Mr. Harley, who seems 
to have no particular conception of the part, but, nevertheless, 
makes it highly amusing — with a generally good delivery of words 
and songs — the play speaks for itself in a great measure." 

On Wednesday, July i, 1857, Miss Bufton played, at the Prin- 
cess's Theatre, the part of Ferdinand— ^e first time this character 
had ever been played on the London stage by a woman — in a 
grand revival of ' The Tempest.' From the Princess's Miss Bufton 
went to the Strand Theatre, where she was for along period one 
of its leading and most popular actresses, appearing there in many 
original parts in the numerous comedies and burlesques produced 
under Mr. W. H. Swanborough's management. Among plays in 
which Miss Bufton especially distinguished herself, the following 
may be mentioned, viz. ' Christmas Boxes ' (Sutherland Edwards 
and Augustus Mayhew), produced at the Strand in January i860 ; 
'Observation and Flirtation' (Horace Wigan), produced in July of 
the same year ; ' The Post Boy ' (Craven), first performed October 3 1 
of the san-ie year; 'The Old Story' (H. J. Byron) ; and 'The 
Idle 'Prentice' (Farnie). On Wednesday, April 4, 1866, at the St. 
James's Theatre, Miss Bufton appeared as Hero, in a revival of 
'Much Ado About Nothing'; and at the same theatre, in the 
following month (May 1866), she appeared as Julia, in a revival 
of ' The Rivals.' In the year following, on Saturday, February 9, 
at the same theatre, she sustained the part of Sophia in a revival of 
'The Road to Ruin.' On Saturday, February 5, 1870, at the 
Strand Theatre, in a revival of the younger Colman's comedy of 
' The Heir-at-Law,' she played Cicely Homespun. On Wednesday, 
January 25, 1871, on the occasion of the opening of the Royal 
Court Theatre, Sloane Square, London, Miss Bufton played the 
part of Miss Flamboys in the first performance of W. S. Gilbert's 
comedy entitled ' Randall's Thumb ' ; and at the same theatre, m 
May 1871, first performance of a dramatic version of Mr. Charles 
Dickens's ' Great Expectations,' she sustained the character of 


Estella. Shortly after the termination of her engagement at the 
Court Theatre, Miss -Bufton had the misfortune to Bieet with a 
severe railway accident, which incapacitated her from foUowmg her 
profession for two years. Since 1876 she has appeared only at 
intervals on the London stage ; in 1879, however, she was engaged 
at the Lyceum Theatre, under Mr. Henry Irving's management, 
appearing in a comedietta entitled ' Book the Third, Chapter the 


BURNETTE, AMY, was born in London. Her first engage- 
ment of importance was fulfilled in 1871 with Miss Thome's so- 
caUed ' Palace of Truth ' company. Previous to this she had played 
minor characters at some of the London theatres, viz. the Adelphi, 
Olympic, and Holborn. In the autumn of 1871 Miss Burnette 
joined Mr. Rice's company at the Theatre Royal, Bradford, and 
played the parts of Ajny Robsart, Esmeralda, &c. On March 4, 
1872, she was specially engaged by Mr. L. J. Sefton to perform the 
character of Cynisca (^ VygrasMoxi and Galatea'), and remained a 
member of his company until 1874. After fulfilling engagements at 
Cheltenham and Liverpool, and again with Mr. Sefton's company, 
in October 187; Miss Burnette joined the company of the New 
Theatre Royal, Bristol, under Mr. Chute's jiianagement. She re- 
mained at that theatre until 1876, and subsequently entered upon an 
engagement at the Theatre Royal, Birmingham, where during the 
season she appeared with success in the following leading characters, 
viz. Lady Macbeth, Ophelia, Desdemona, Mrs. Haller, Pauline, 
Clara Douglas, &c. Miss Burnette travelled on tour in the spring 
of 1877, playing Claire Ffolliott in ' Shaughraun'; and in June of 
the same year joined Miss Lee's so-called ' Jo ' company, being 
specially engaged for the part of Lady Dedlock. Since 1877 Miss 
Burnette has fulfilled engagenrents in London and Liverpool. 

BURVILLE, ALICE, first attracted notice as a«singer in an 
operetta by Supp<J, at the Theatre Royal, Drury Lane, December 3, 
1874. In 1875 she performed at the Charing Cross Theatre in 
' Dagobert,' and afterwards at the Criterion Theatre in ' Fleur de 
Thd,' taking the title role. Previous to going on a tour in the 
provinces she sang in operetta at the Gaiety Theatre. Returning 
to London, she appeared in ' Der Flcdermaus,' and in ' Orphde 
aux Enfers' at the Alhambra Theatre; and after a short tour 
m America with Miss Lydia Thompson, took the character of 
GSnivtive de Brabant in Offenbach's opera at the Philharmonic 
Theatre m January 1878. Miss Burville succeeded Miss How- 
son, the original Josephine in ' H.M.S. Pinafore,' at the Opdra 
Comique. *^ 

BUTLER, MRS. FANNY. .S^^?^ Kemble, Frances Ann. 


BYRON, HENRY JAMES, son of Henry Byron, Esq., of her 
Majesty's Consular Service, was born in 1834. He had gained 
reputation as a dramatist long previous to his appearance on the 
stage as an actor. His merits in the first direction are, perhaps, 
fairly summed up in the following criticism : — " Of our younger 
dramatists Mr. Byron is the one to whom we should most readily 
turn in expectation of receiving a contribution to genuine comedy. 
He is destitute of invention, a deficiency he shares in common 
with «very English dramatist of the last fifty years. He has wit, 
however, dramatic perception, a certain power of character painting, 
and a talent, quite unrivalled in England, of turning to fresh 
account well-used materials. His defects are want of patience, and 
an irresistible tendency to wander from the course he has chalked 
out. Let him bestow upon one work the labour he now spends 
over three, and let him restrain a vagrant fancy, and he might yet 
give us good works Better still, perhaps, would it be for him to 
associate himself with a collaborateur, whose steady pace would 
check his erratic movements, and whose invention might strengthen 
the singularly weak fabric of his plays." {Athenceum, No. 2362, 
p. 156, Feb. I, 1873.) Mr. H. J. Byron's reputation as an actor rests 
on his impersonation of -the part of Sir Simon Simple in his own 
drama '-Not Such a Fool as He Looks,' in which he first appeared 
on the London stage, at the Globe Theatre, Saturday, October 23, 
1869. Although not an event without precedent, the announcement 
that a well-known dramatic author would perform at a London 
theatre -the principal part in a play of his own writing was remark- 
able enough to draw a crowded audience to the theatre. The 
drama, which had been performed for some months in provincial 
cities, was entirely new to London. With regard to Mr. Byron 
himself,- although he had once or twice taken a part in amateur 
performances in London, and had sustained in Manchester and 
Liverpool the same character of Sir Simon Simple, he, too, 
was entirely unknown on London boards. Such a combination 
of novel circumstances constituted a dramatic event, and suffi- 
ciently explained the enthusiasm with which the audience of the 
Globe greeted the rising of the curtain. Said the Daily News 
(October 25, 1869) :" Mr, Byron's performance certainly needs 
no apology on the ground of inexperience in the actor. Though a 
little- weak in its effect in -the first act, it rose in the second to a 
high degree of dramatic art. Nothing could be better than his 
struggle between the desire to maintain a dutiful regard for his 
new-found mother and his horror of her vulgarity and hypocrisy ; 
nor would it be easy to name an actor who could render w^ith more 
dramatic power the situations in which he makes the audience feel 
that Sir Simon is, after all, ' not such a fool as he looks.' The 
scene-in which he defies Murgatroyd, and breaks across his knee 
the stick with which the bill-discounter has threatened him, is an 
example."' ' Not Such a Fool as He Looks,' although in three acts, 
is a drama essentially farcical in structure (according to the Daily 
Telegraph of the date last quoted), making no pretension what- 


ever to engage the attention by working out an intelligible story. 
The sole object of the author seems to have been the contrivance 
of situations which shall excite mirth by a whimsical defiance of 
the laws of probability. An improbable plot is so treated that the 
impossibility of anything taking place in the manner indicated 
merely increases the enjoyment of the spectator as the play 
proceeds ; and it is only because the absurdities of position are 
not heightened at the end that a slight feeling of disappointment 
is felt when the curtain falls. " The hero of ' Not Such a Fool as 
He Looks ' has his attributes foreshadowed in the title of the 
drama. His peculiarities, defined very clearly by Mr. Byron as 
the author, are depicted very cleverly by Mr. Byron as the actor. 
Sir Simon is a fair-haired young gentleman, quick in perceiving 
the right thing to do, but so slow in finding the right thing to say 
that he has come to be regarded as a simpleton. He wears an eye- 
glass through weakness of vision, not for foppery, and his languid 
manner and drawling tone are both plainly referable to his tardi- 
ness of apprehension and not to his love of affectation. He is a 
slow talker because he is a slow thinker, and the sound and the 
sense of words get so confused in his speech that he makes, un- 
consciously, the most desperate puns in the most deliberate manner. 
This apparent stolidity is, however, but the veil thrown over a truly 

generous nature The ability of Mr. Byron to give this 

character the fullest expression was quickly recognized by the 
audience, and in the repeated recalls and the protracted plaudits at 
the end of the piece, the best assurance was afforded of the double 
triumph gained." Mr. Byron represented the character of Sir 
Simon Simple again in the following year (February 1870) at the 
Adelphi Theatre in a revival of the play. 

On March 23, 1870, at the Adelphi, first performance of his four- 
act drama entitled ' The Prompter's Box,' Mr. Byron sustained the 
leading r6le^ Fitzaltamont, an unfortunate provincial comedian, 
who is always bewailing his own miseries with the most ludicrous 
sorrow, and who, having long been an object of universal pity, 
astonishes the world by becoming, when heroism is required, a hero. 
The character was original in conception, and Mr. Byron's acting 
in it was considered the best histrionic representation he had yet 

Two years later, in October 1872, at the Strand Theatre, Mr. 
Byron played the same part in the same piece, slightly altered, and 
with the changed title ' Two Stars ; or, the Footlights and the 
Fireside.' In January 1873 he produced a new three-act comic 
drama, entitled ' Old Soldiers,' at the Strand Theatre, in which 
he sustained the part of Lionel Leveret with decided success, the 
ingenious author having once more fitted himself with one of those 
peculiar characters whom it had lately been his study to create and 
elaborate. Lionel Leveret is a young country gentleman, resident 
in Devonshire, who having a reputation for dullness and indecision, 
is therefore the object of the attack of the " old soldiers," but who, 
like his predecessor. Sir Simon Simple, is not such a fool as he 
looks. Mr. Byron acted with admirable repose, delivering smart 


repartees with a quiet, unconscious air which, contributing to their 
effectiveness, softened sometimes their rudeness and occasionally 
helped to atone for their extravagance. 

On Saturday, March 2:, 1874, Mr. Byron produced his coniedy, 
' An American Lady,' at the Criterion Theatre, Piccadilly, on the 
occasion of its first opening, and played the part of Harold 
Trivass. On Saturday, October 2, 1875, his comedy, 'Married in 
Haste,' was performed for the first time at the Theatre Royal, Hay- 
market, Mr. Byron himself sustaining the part of Gibson Greene. 
Concerning this play the Daily News (October 4, 1875) indulged in 
the following reflections : — 

" The story of Mr. Byron's comedy, it must be confessed, is not 
remarkable for originality or for dramatic qualities of a robust kind. 
It is, in fact, only the old theme of a young couple who part on a 
misunderstanding, or at least upon very slender grounds, and who 
are subsequently brought together again by rather obvious devices. 
How often this notion has served the dramatist's turn, or even how 
many times Mr. Byron himself has in this way involved hero and 
heroine in troubles too manifestly predestined to be only of a tem- 
porary nature to excite serious apprehensions in the breast of the 
spectator, it would be hard to tell. But it is now rather late in the 
day to expect from Mr. Byron either boldness of design or vigorous 
handling of old elements of dramatic story-telling. Strictly speak- 
ing, there is in his pieces scarcely any construction at all. His 
scenes are clever ; his characters, though not profoundly conceived, 
are sketched with true humour, and some observation of life, and 
no one who is in the habit of going to theatres need be told that 
his dialogue is a perpetual feast of entertainment. But of the art 
of laying out a story and of giving to its parts that ^coherence and 
inter-dependence which are the secret of the success of so many 
plays, not remarkable for other qualities, he has hitherto exhibited 
scarcely a token. From the title of ' Married in Haste,' it may be 
inferred that the author's original notion was to show in action the 
truth of the proverb that those who join hands for life without due 
reflection are destined to long repentance ; but his first act provides 
no basis for a moral of this kind. His hero is not only a very well- 
favoured, but a very honourable, indeed a chivalrous, young gentle- 
man. ... In brief, Mr. Byron's incidents, instead of standing to 
the foundation of his story in the relation of effect to cause, are 
more like a series of ' happy thoughts ' by which, while invention 
holds, his piece might be continued through as many acts as the 
patience of audiences would allow. Meanwhile, what is presumably 
the fundamental notion of the piece is allowed to evaporate ; and 
finally, instead of showing how those who ' marry in haste ' are 
doomed to ' repent at leisure,' Mr. Byron enforces no moral at all, 
unless it be that a hasty marriage ought not to be repented of in a 

" We have thought it worth while, in the interest of dramatic art, 
to offer these observations upon Mr. Byron's plots generally ; but 
it is really ungracious to make complaint of a gentleman who 
is able to amuse us by so many legitimate ways. Following his 


established fashion, he has imagined for himself a character which, 
though only loosely connected with the story, is never without 
reasonable excuse for presenting himself and saying those clever ' 
things which, in or out of season, rarely in Mr. Byron's mouth miss 
their effect. Mr. Gibson Greene is the latest name of this not unwel- 
come intruder. His hair, since we met him first, has become 
slightly dashed with grey ; he is described as ' a mature man about 
town,' and he is, on this occasion, not a mere visitor or hanger-on, 
but a gentleman, who, by his kind-hearted devices and his ready 
wit, renders substantial aid to the hero and heroine, and thus may 
be said to keep the story always in his own hands. But it is as 
impossible to fail in recognizing him as to be blind to the fact that 
the real cause of his frequent appearance is his irresistible passion 
for saying good things. In point of acting there is little to say for 
these personages ; Mr. Byron has never acquired either perfect ease 
on the stage, nor that variety of tone, movement, and expression 
which are the triumph of the finished actor. But then he rarely 
takes to himself a part connected with the serious action of his 
pieces, and he is apparently ambitious of success chiefly in the art 
of quietly dropping those witty and whimsical observations in the 
invention of which his powers have certainly undergone no dete- 

On Monday, September i6, 1878, in a comedy-drama from 
his own pen, entitled ' Conscience Money,' then first performed at 
the Hay market Theatre, he acted the part of Dick Simpson, "a. 
character such as he has frequently presented." This play proved 

In a record of Mr. Byron's dramatic services extending to the 
present time {1879), although that record does not profess to take 
account either of his innumerable contributions to periodical and 
dramatic literature or of his services as a dramatic author, it seems 
only proper that note should be made of the extraordinary success 
attained by his comedy, ' Our Boys.' That play was originally pro- 
duced at the Vaudeville Theatre, London, on Saturday, January 16, 
1875, and its last performance took place at the same theatre on 
Friday, April 18, 1879 — an unbroken "run" in the metropolis of 
over four years and a quarter. It has been played by a travelling 
company of comedians for over 1200 nights, and is still (June 1879) 
being played by the same company in the provinces. It has been 
successfully produced in the principal American and colonial cities 
and towns, and has been adapted or translated and played in 
Norway, Denmark, Switzerland, Holland, Bavaria, and France. 
Such a career is unparalleled in the history of the drama. 

CHl^tlAI^M, S'lANISLAUS. 79 

CALHAEM, STANISLAUS, became early connected with the 
stage, having in his fifth year played the part of Young Norval at 
the Queen's Theatre, Liverpool. During the ensuing seven years 
young Calhaem, under the sobriquet of the " Infant Roscius," per- 
formed the parts of Hamlet, Shylock, Richard III., Rolla, Sir 
Giles Overreach, in various parts of the country. He then left the 
dramatic profession for a time, but in August 1846 rejoined it, 
appearing at the Liver Theatre, Liverpool, under Mr. C. F, Mar- 
shall's management, as Hamlet, in a drama by C. H, Somerset 
entitled ' Garrick, the King's Jester ; or, the Early Days of Hamlet.' 
Thence Mr. Calhaem went to Belfast, Carlisle, &c., and was for 
some time a member of the York Circuit and of Samuel Roxby's 
company. From 1853 to 1855 he was stage-manager and principal 
comedian of the T. R. Sheffield, during which period was produced 
, there ' Slavery,' a successful stage version of ' Uncle Tom's Cabin,' 
in which Mr. Calhaem personated the triple parts Sam (a nigger), 
Phineas Fletcher, and St. Clair. At the opening of the " Queen's 
Theatre and Opera House," Edinburgh, under Mr. Black's manage- 
ment, in December 1855, he performed the rdle of St. Lo in ' Love's 
Sacrifice.' Mr. Calhaem made his dibut on the London stage at 
the Lyceum Theatre, under Charles Dillon's management, Septem- 
ber IS, 1856, as Leontes in the burlesque of ' Perdita,' and con- 
tinued a member of the Lyceum company for two seasons, appearing 
chiefly in burlesque and farce. During a subsequent engagement 
at the same theatre, commencing Easter Monday, i860, Mr. 
Calhaem acted the character of Morgiana in the " Savage Club " 
burlesque of ' The Forty Thieves.' In the two following years he 
was stage-manager to Mrs. E. Glover at the Prince's Theatre, 
Glasgow, and T. R. Greenock, and subsequently, in 1862-3-4, was 
acting on the metropolitan stage, at Drury Lane and Astley's. 

In 1864 Mr. Charles Reade's drama ' It's Never Too Late to 
Mend ' was first performed at Leeds Theatre Royal, Mr. Calhaem 
appearing in the original cast as Jacky. On October 4, 1865, the 
play was produced in London at the Princess's Theatre, under Mr. 
Vining's management, Mr. Calhaem being selected to sustain the 
same character. It was generally admitted that his was the most 
remarkable performance in the play. " We have seldom seen," re- 
marked the Times, October 5, 1865, "a more sterling piece of 
acting, or a piece in which the talent of the actor so completely 
fleshed and clothed the author's skeleton idea. Jacky is one of 
those embodiments which are sufficient to make the reputation of 
any actor, and Mr. Calhaem's performance will be talked about for 
some time to come." It was the marked success of the evening; 
and it would hardly be an injustice to the distinguished author of 
the drama to say that the ability displayed by Mr. Calhaem con- 


duced in no slight degree to the success of ' Never Too Late to 
Mend ' on the occasion of its first representation in London. Pro- 
bably no play met with a more equivocal reception than did Mr. 
Reade's on the first night of its performance at the Princess's 
Theatre. A considerable section of the audience denounced the 
second part of the drama (" Prison Life ") in the strongest possible 
manner. Not only were loud cries of " Shame, shame," " Off, off," 
"Disgusting," "Degrading," and "Disgraceful" made use of; 
but several gentlemen got up in the stalls and called upon Mr. 
Vining to come forward and apologize for introducing such scenes 
upon the stage.* The expression and contest of opinion ultimately 
became so strong that the performance was for a time suspended ; 
and Mr. Vining came forward, and, having with difficulty obtained 
a hearing, declared that he had produced the play " on a high 
principle, coinciding, we {Morning Advertiser) presume, with Mr. 
Reade's notions as to the treatment of criminals. An altercation 
thereupon took place, and we are free to confess that we ourselves 
denounced the introduction of so complex a question as prison 
discipline into a melodrama, especially backed up as it is by such 
dismal and revolting representations of horrors. The unnecessary 
introduction of a clergyman into the piece, and of the most serious 
discussions as to religion and morality, also added to the disgust 
which many of the audience felt."t This interruption served as a 
test, after all, of the powerful attraction of the piece, inasmuch as 
the succeeding act entirely restored the equanimity of the audience, 
and the curtain fell, at length, "to the most warm and decided 
testimonies of success." In this, the third act, Jacky (Mr. Calhaem) 
" gave one of the most perfect examples ever seen of a peculiar 
class of acting." 

During Mr. Calhaem's engagement at the Princess's Theatre he 
played, November 12, 1866, Sinioti Tappertit in a version of 
' Barnaby Rudge ' (Watts Phillips and Vining), which was un- 
successful. In the last season of Mr. Fechter's management of the 
Lyceum Theatre, Mr. Calhaem became a member of his company, 
and played Glavis in ' The Lady of Lyons,' in succession to Mr. H. 
Widdicombe, who was a very excellent " low comedian " in his day. 
Subsequently Mr. Calhaem joined Mr. John Coleman on the York 
" Circuit,'' and played Jacky in the provinces. In 1871 he joined 
the company of the T. R. Adelphi, and appeared as Solomon in 
'The Hidden Treasure'; in 1872-3-4 he was at the Princess's, and 
played in ' Haunted Houses,' H. J. Byron ; ' Griselda,' Miss 
Braddon ; ' Puss in Boots,' R. Reece ; ' Mary Stuart,' W. G. Wills. 
On September 28, 1874, he "reopened" at the Adelphi Theatre as 
Ezekiel Homespun, after which date he was connected with the 

* Standard, October 5, 1865. See also Daily Telegraph of same date ; 
Tinus (ibid) ; Weekly Dispatch, October 7, 1865. 

t Morning Advertiser, October 5, 1865. See also Sunday Times, 
October 8, 1865. " The nauseous second act of Mr. Charles Reade's new 
<kama ' It's Never Too Late to Mend ' was freed from a few of its most 
intensely revolting features last evening, when the piece was played for a 
second time." — Morning Star, October 6,- 1865. 


Adelphi, Princess's, and Drury Lane Theatres under Mr. Chat- 
terton's management. On December 36, 1878, in a revival at the 
Princess's Theatre of ' Never Too Late to Mend,' Mr. Calhaem 
played his " original " part of Jacky, " with the familiar effect, and 
acted with a quiet humour and a degree of unaffected pathos that 
could not easily be surpassed." 


CAMERON, VIOLET, an actress who has fair claim to the 
distinction of " prima donna " in comic opera and burlesque, first 
appeared on the stage Easter, 1870, at the Princess's Theatre, 
London, in the character of Karl in ' Faust and Marguerite.' 
She played as a child in pantomime at Drury Lane and the Adelphi 
Theatres 1 871-1874; and in 1875 was acting at the Globe Theatre. 
At the Criterion Theatre in February of the following year 
" created " the r6le of Joconde in Farnie's burlesque of ' Piff-Paff.' 
In September of the same year, at Alexandra Theatre, Liverpool, 
Miss Cameron acted the part of Perdita in 'A Winter's Tale' 
with gracefulness, intelligence, and feeling. From 1876 to 1878 
she was engaged at the Folly Theatre, playing in burlesque and 
comic opera, as to which the following will suffice as examples : 
' Robinson Crusoe ' (Farnie), as Polly Hopkins; ' Sea Nymphs ' 
(Lecocq), Pearlina; ' La Creole ' (Offenbach), Antoinette j ' Les 
Cloches de Corneville ' (Planquette), Germaine : this latter character 
Miss Cameron performed with more than ordinary excellence. 
"The young actress sang charmingly, and acted with a delicacy and 
grace very rarely found in the heroine of a comic opera" {Standard, 
February 1878). In the same year (October) she acted in ' Nemesis ' 
(Farnie) at the Strand Theatre ; and in .^pril 1879 at the same 
theatre sustained the rSle of Suzamie, first performance there of 
'Madame Favart' (Offenbach). 

at Birmingham, and claims descent on his father's side " from ' Old 
Edwards,' Keeper of the Crown Jewels at the time of Colonel 
Blood's attempt to steal them." He first appeared on the stage 
September 17, 1859, at the Garrick Theatre, under the management 
of his brother George Henry Edwards, as Leonardo Gonzago in 
'The Wife.' In July 1861 he adopted the stage as a profession, 
accepting an engagement at the Queen's Theatre, Hull. During 
his first season Mr. Carter-Edwards acted with Mr. and Mrs. 
Charles Kean, who were passing through the town on a starring 
tour. Subsequently he went to Aberdeen, and remained there for 
four years under McNeill's management, and "acquired a very high 
reputation there, chiefly in heavy parts, and was a great favourite." 
Was for two years under George Hodson, the Irish comedian, and 
during this engagement played Shylock to Miss A. Sedgwick's 



Portia." Mr. Edwards was for a short season at the Theatre 
Royal, Birmingham (where he acted with Miss Helen Faucit), 
and afterwards joined Mr. Coleman's company at Theatre Royal, 
Hull, and New Theatre, Leeds, 'Hamlet' being the "opening" 
play, in which Mr. Edwards acted the Ghost. At the latter theatre 
Charles Reade's dramas ' Fovd Play' and 'Put Yourself in His 
Place' were first produced (1868-70). In the first-named Mr. 
Edwards was the "original" Arthur Wardlaw, in the last-men- 
tioned the original Mr. Coventry. He then " went to Edinburgh 
Theatre Royal for 'leading business,' and played there original 
parts in the Scott Centenary plays — Fergus Mclver, Balfour of 
Burley, and Varney — also as Rashleigh in ' Rob Roy.' Remained 
at this theatre over two years, and made a capital reputation as a 
Scotch and English reader at St. George's Hall." In 1873 he was 
engaged by the late Mdlle. Beatrice for her company of comedians, 
of which Mr. Carter- Edwards still (July 1879) remains a member. 
During his long connection with Mdlle. Beatrice's company he has 
played the following among other "original" parts with success, 
viz. Arthur Lejardie in the Enghsh version of 'The Sphinx'; 
John Jasper in ' John Jasper's Wife ' ; Appiaiii in ' A Woman of 
the People '; Sir Harold Penireath in ' Married, not Mated.' 

CARTON, R. C. (a no77t de theatre; RICHARD CLAUDE Crit- 
CHETT). Born in London, and made his first appearance on any 
stage at the New Theatre Royal, Bristol, Monday, March 29, 1875, 
as George de Laval in 'The Sea of Ice.' On June 19, 1875, he 
made his dtlbut on the London stage at the Lyceum Theatre in 
the character of Osric, in a revival of ' Hamlet ' by Mr. Ii-ving, 
and afterwards, during the same year, accepted an engagement 
under Mr. Sefton Parry's management at the Theatre Royal, Hull. 
Returning to London he reappeared at the Lyceum as Osri'c, and 
subsequently as Courtenay, first performance of Tennyson's ' Queen 
Mary.' In the summer of 1876 Mr. Carton appeared at the "Alex- 
andra Theatre, Liverpool, to support Mr. G. H. Brooke, and played 
a round of characters in the Shakespearian drama, and in the 
autumn of the same year accompanied Mr. Irving on his first pro- 
vincial ' Hamlet ' tour. In July 1877, at the Amphitheatre, Liver- 
pool, he created the part of the Rev. Alfred Lonsdale in the 
drama of ' Liz,' and " opened " in this character on the production 
of the play in London. In November 1877 Mr. Carton accepted 
an engagement at the Royal Aquarium Theatre, and played Sir 
Benjamin Backbite in ' The School for Scandal ' for a run of six 

* " My first really great success was here. I played Shylock to Mi-:s 
Sedgwick's Portia, and the night is well remembered by me for the 
startling success I made ; indeed, I seemed to have been like one of those 
who had suddenly woke up to find myself famous. I played the who]e 
leading business during this engagement, and was stage-manager during 
the second year, acting with James Anderson, Neil Warner, Miss A. 
Sedgwick, Belle Boyd (' The Confederate Heroine'), Mrs. G. V. Brooke 
(Avonia Jones), Menken, H. Talbot, Charles Harrison, the Keans, and 
Toole." — Letter from Mr. Carter- Edwards to the Editor. 


weeks. In February 1878 he appeared at the Court Theatre in 
' New Men and Old Acres ' ; and in April following played the 
part of Johiiiiy Fosbrooke, first. performance of ' Such is the Law' 
(Taylor and Meritt) at St. James's Theatre. He remained a 
member of the company of the same theatre until the end of the 
season, and for the following (the winter) season, 1878, was engaged 
by Mr, Henderson. 

CATHCART, MAUD, daughter of the under-mentioned Rowley 
Cathcart, entered the dramatic profession at the Royal Court 
Theatre March 30, 1878, on which date she appeared as Polly 
Flamborough in Wills's play of ' Olivia,' Miss Cathcart continued 
to play the part during the successful " run " of the piece. She was 
re-engaged by Mr. Hare for the season 1878-9, and reappeared at 
the Court Theatre as Mary Sullivaii in ' A Quiet Rubber.' 

CATHCART, ROWLEY, born at Chichester, January 15, 1832, 
and entered the dramatic profession when a child, playing boys' 
parts under his father's instruction at various theatres in the pro- 
vinces. In the year 1845 he first appeared in a part of importance, 
playing at Glasgow, Franco in ' Guy Mannering,' with Mackay 
and John Alexander in the cast. In 1847 he was engaged at 
Liverpool, and thence went on tour with his father to perform at 
Bristol, Bath, Manchester, Brighton, &c. In 1850 the. late Charles 
Kean enrolled Mr. Cathcart as a member of the company of the 
Princess's Theatre. He continued to act at that theatre during the 
whole of Charles Kean's management and that of his immediate 
successors, Augustus Harris and George Vining. In 1868 Mr. 
Cathcart joined the so-called ' Caste ' company in the provinces, 
and, returning to London, in the following years fulfilled engage- 
ments at the Globe, Olympic, Queen's, Royalty, Prince of Wales's, 
and Royal Court Theatres. Among important characters sustained 
by him during his long career on the stage, the following may be 
selected as deserving honourable mention: — The Prince of Morocco, 
' Merchant of Venice,' at the Princess's Theatre in 1858; Tremor oso 
in 'Jack the Giant Killei:' at the same theatre, 1859-60; Latmcelot 
Gobbo in 'Merchant of Venice' at the same theatre, 1863; Grtcmio 
in 'Taming of the Shrew' at the Globe Theatre, 1870; The Old 
Fiddler in 'Amos Clark' at the Queen's Theatre, 1872 ; Rowley in 
'The School for Scandal' at the Prince of Wales's Theatre, 1874; 
and Farmer Flamborough in Wills's play of ' Olivia ' at the Royal 
Court Theatre, 1878. 

CAVENDISH, ADA, first attracted attention in London as an 
actress in burlesque, at the Royalty Theatre, under the manage- 
ment of the Misses Pelham, where, in May 1865, she first appeared 
in a leading part, that of Hippodamia, in a burlesque by F. C. 
Burnand, entitled ' Pirithous, the son of Ixion.' On Thursday, 
February 15, 1866, she acted for the first time at the Haymarket 
Theatre, in a comedietta entitled 'A Romantic Attachment,' and 
met with an extremely favourable reception. At the same theatre, 



on Thursday; January 14, 1869, first performance of Mr. T. W. 
Robertson's comedy of ' Home,' she sustained the character of Mrs. 
Pinchbeck, in which she may be said to have first earned reputation. 
In 1870, Saturday, April 16, on the occasion of the opening night 
of the Vaudeville Theatre, Strand, under Messrs. Montague, James, 
and Thome's management. Miss Cavendish appeared in a comedy 
by Andrew Halliday, entitled ' For Love or Money.' At the Globe 
Theatre the same year, on Saturday, October 8, she played the part 
of the Marchesa San Pietro, in a revival of Palgrave Simpson's 
'Marco Spada'; and on Monday, September 11, 1871, in a revival 
at the Gaiety Theatre of Westland Marston's drama of ' Donna 
Diana,' Miss Cavendish sustained the title rdle, the piece going 
admirably — a fact for which _the acting of Miss Ada Cavendish was 
largely responsible. " In dignity and grace of bearing Miss Caven- 
dish has no superior. Her presentation of the haughty princess 
whom no prayers can move had singular beauty and refinement. 
In the early scenes pride of conscious superiority was well worn, 
and in the later the strife with nascent tenderness was cleverly 
revealed." {Athe}tcsum, April 16, 1871.) On Monday, March 25, 
1872, at the same theatre, she performed the part of Julia in ' The 
Hunchback,' deservedly gaining the approval of a very numerous 
audience ; and shortly afterwards, at the Court Theatre, first perform- 
ance of Dr. Westland Marston's and Mr. W. G. Wills's play 
' Broken Spells,' she undertook-Jhe character of Estelle. At the 
V Olympjc Theatre, in May (873j5first performance of Mr. Wilkie 
Tlollms's play ' The New Magaslen,,^Mlss_CaAfradis]l^usiain£djli£_ 
leading part of Mercy Merrick. ."There 'is considerable merLt ijo 
-Mr. Wilkie Collins'sj ' New Magdalen,"'| remarked the Exapiiner 
(May 2i^'i873), "though it may be doubted whetlier, apart from its 
dramatic power, it can bear the test of criticism. The story is a 
simple one. . . . Mr. Wilkie Collins has ingeniously managed to 
enlist the sympathies of the audience not with the victim of fraud 
but with the impostor : and the moral of the ' Neat— MapdaJen,' 
_££pears to be that a young woman may stray from virt ue's path. 
and~lie and steal and "cheatj but if she repents in the e ndj she is 
sure not only to be forgiven but to be glorified as_a_saint,_and^_ 
married to a clergyman of the Church of England., ._^_.__The_ 
reception of the piece by a very crowded house could^ no t fail to 
be flattering to the author, who Was' twice called belbre^the curtain 
on the occasion of the first performance ; but we are bound to say 
that this success was mainly attributable to the admirable acting 
of Miss Cavendish and Mr. Archer. High as we rate the talents of 
Miss Cavendish, we were startled by the power no less than the 
versatility of her acting in the part of Mercy Merrick. The transi- 
tion from security to doubt and fear ; the struggle between pride 
and her newly-awakened conscience ; the grandeur of her scorn and 
rage when goaded by the insults of her victim into renouncing her 
intentions of making confession and restitution ; and, finally, the 
deep pathos of her honest repentance and self-sacrifice, make up a 
finished piece of acting such as in these days is rarely seen upon 
the English stage." 


On Friday, September 26, 1873, at the Olympic Theatre, on the 
occasion of her benefit, Miss Cavendish appeared for the first time 
in London as Juliet, m Shakespeare's tragedy. "Her performance 
of the part was creditable in the extreme ; she showed the greatest 
intelligence in the delivery of the language, there was manifestly 
intention in every word she spoke, and the scenes which most 
require strength of expression were given with a force scarcely to 
be expected from an actress to whom tragedy presents a world 
entirely new." {Times, September 29, 1873.) In March 1874, first 
performance at the Olympic of Mr. Tom Taylor's play ' Lady Clan- 
carty ; or, Wedded and Wooed,' Miss Ada Cavendish performed 
the part of the heroine. At the Gaiety Theatre, in April 1875, 
for the first time she sustained the character of ^(?ai'r/(r^ in a revival 
of 'Much Ado About Nothing'; and in 1876, at Easter, at the 
Globe Theatre, first performance in London of Wilkie Collins's 
' Miss Gwilt ' (the play was originally produced in Liverpool), Miss 
Ada Cavendish performed the character r$le, playing it throughout 
" with deliberation in the calmer scenes, and in the more passionate 
passages with an impetuosity and dramatic fire which met with 
sincere appreciation. There are scenes in the play taken with such 
a firm grasp that hope may well be held out that the career of this 
young actress is likely to be as ambitious as it cannot fail to be 
successful." {Daily Telegraph, April 18, 1876.) 

On Saturday, January 13, 1877, at the Olympic, first performance 
of a comedy-drama, in four acts, entitled ' The Queen of Con- 
naught,' she played the heroine. At various times Miss Cavendish 
has undertaken for brief periods in London the lesseeship of the 
Olympic, St. James's, and other theatres. She has performed with 
much success in the provinces, and in August 1878 went to the 
United States. -She made her d^but at the Broadway Theatre, 
New York, in the following month in the character of Mercy 
Merrick ('The New Magdalen'), and was received with much 
favour. Afterwards she made . a " starring " tour through the 
country, visiting, among other cities, San Francisco, Chicago, 
St. Louis, appearing as Rosalind, Juliet, Lady Teazle, Miss 
Gwilt, &c. 

CECIL, ARTHUR (a nom de thedtre; ARTHUR CECIL Blunt). 
Born near London in 1843, and first appeared on the stage, as an 
amateur, at the Richmond (Surrey) Theatre Royal, in the parts of 
the young King Charles in ' Faint Heart Never Won Fair Lady,' 
and Bundle in the musical farce of •' The Waterman.' He made his 
professional ^/fc/ in London, Easter Monday, 1869, at the " Gallery 
of Illustration," with Mrs. German Reed's company, as Mr. 
Churchmouse in ' No Cards,' by W. S. Gilbert, and Bo:^ in the 
musical version of ' Box and Cox,' by Messrs. Burnand and A. 
Sullivan. In 1874 he joined the company of the Globe Theatre, and 
appeared there during that year as Jonathan Wagstaff, in W. S. 
Gilbert's comedy ' Committed for Trial,' and as Mr. Jitstice Jones 
in Albery's comedy 'Wig and Gown.' In the same year, on 
December 19, at the Gaiety Theatre, in a revival of 'The Merry 


Wives of Windsor,' Mr. Cecil played the part of Dr. Caiusj and 
the following year (1875), February, at the Opdra Comique, in a 
revival of Shakespeare's ' As You Like It,' he played Touchstone. 
At the Gaiety Theatre, during the same year, he appeared as Duke 
Anatole in ' The Island of Bachelors,' by Messrs. Reece and 
Lecocq, and as Charles in ' Oil and Vinegar,' by H. J. Byron. 
January 1876, at the same theatre, on the occasion of his benefit, 
Mr. Arthur Cecil played Monsieur Jaqiies in the musical piece of 
that title, and Sir Harcourt Courtly in a revival of ' London 
Assurance.' " Mr. Cecil's performances for his benefit of Monsieur 
Jaques in the musical comedy of that name, and Sir Harcourt 
Courtly in 'London Assurance' {^Athenceum, January ■2.2, 1876), 
show how admirably careful and artistic he is in his style, and 
maintain his reputation at the high point it has reached. He is 
still wanting in breadth, and his voice is at times scarcely audible. 
When he acquires more force, his position in light comedy will be 
little short of the highest." The part of Tourbillon in ' To Parents 
and Guardians,' a character of which Mr. Alfred Wigan was the 
original exponent, is one which deserves to be included in any 
notice of the principal services on the London stage of Mr. Arthur 
Cecil. The Saturday Review speaks of his acting in this part as 
being little short of "marvellous," which, doubtless, means that in 
this particular character Mr. Cecil has shown himself superior to 
the majority of actors who have undertaken it. 

At the Globe Theatre, Easter Monday, 1876, first performance 
of Wilkie Collins's play of ' Miss Gwilt,' adapted from his novel 
of ' Armadale,' Mr. Cecil sustained the part of Dr. Downward. 
On Saturday, February 5, 1876, first perfoimiance at the Hay- 
market Theatre of 'Anne Boleyn,' by Tom Taylor, he played 
Chapuis with great force and originality ; and the same year 
at the Prince of Wales's Theatre, in ' Peril,' adapted by Messrs. 
Savile Rowe and Bolton Rowe from M. Sardou's 'Nos Intimes,' 
the part of Sir Woodbine Grafton, which in the -hands of Mr. 
Arthur Cecil was presented as a very highly-finished piece of 
miniature painting — one of those delicate little bits of character 
which Mr. Cecil knows so well how to treat. " He is as good 
as he can be in the first act ; but as the play proceeds there 
peeps out here and there a glimpse of something we have seen 
before, and Sir Woodbine Grafton is once or twice very nearly 
giving place to Dr. Downward. In this particular school of acting, 
* ' character acting,' as it is called, to avoid any repetition and 
carefully define each successive character must be a task of more 
than ordinary difficulty — it would seem, indeed, to be a task of 
great difficulty in many other schools of acting where this excuse 
cannot be offered — and the difficulty is of course much enhanced 
by a protracted representation of one particular character. It is a 
mistake, however, to be avoided by all means, and more, perhaps, 
in this style of acting than in any other. Mr. Cecil indeed was, 
considering what we so often see, a very slight offender, and in 
saying what we have said we do not wish for a moment to detract 
from his performance, which was very amusing and very clever." 


(Times, October 3, 1876.) In April 1877, at the same theatre, first 
performance of ' The Vicarage,' by Savile Rowe, Mr. Cecil under- 
took the part of the Rev. Noel Haygarthj and in the following 
year (1B78}, January 12, first peiformance of ' Diplomacy ' (Messrs. 
Savile Rowe and Bolton Rowe), the part of Baron Stein, " Mr. 
Cecil's rare talents for disguise of speech, manner, and appearance 
being shown in their fullest significance in the small but highly 
finished part of the Russian agent " {Times, January 21, 1878). In 
a revival of ' Caste' at the Prince of Wales's Theatre in January 
1879 (continuing to May of the same year), Mr. Cecil played the 
part of Sam Gerridge, originally sustained by Mr. Hare ; and in a 
subsequent reyival, in June 1879, of Buckstone's comic drama ' Good 
for Nothing,' the part of Tim Dibbles was acted by him. 

August 16, 1 8 14. Entered the classes of the Academy of Music 
in that city as a child, and at the age of fifteen commenced an 
engagement in the United States, where she subsequently married 
Mr. Elliott. She first appeared on the English stage, in 1830, at 
Liverpool, as Fenella in ' Masaniello,' and the same year appeared 
at Drury Lane Theatre in the ballet of ' La Bayadere.' Madame 
Celeste made her professional d^but in London, at Drury Lane 
Theatre, in the year 1837 (October), as Maurice, the dumb boy, 
in Planchd 's ' Child of the Wreck.' " The whole weight of the 
drama rested on Madame Celeste, whose ' dumb show,' unlike that 
of Shakespeare, is anything but inexplicable. She expressed by 
her varied and appropriate action, and by her swiftly changing 
features, the various passions of love, despair, indignation, and 
joy, with touching fidelity. She was much applauded." {Times, 
October 9, 1837.) The same month of the same year she appeared 
at Drury Lane Theatre as the heroine in a piece entitled ' The 
Indian Girl.' From time to time during the years 1838-9 and 
1840-1, Madame Celeste performed at the Haymarket Theatre, and 
for the most part in characters involving only mute action. On 
May 30, 1 841, at that theatre, she appeared in a melodrama 
entitled ' Marie Ducange,' written expressly for her by Mr. Bernard. 
In November of the same year she performed at the same theatre 
in a piece entitled ' The Quadroon Slave.' In the following year 
she returned to the United States for a brief period, reappearing 
at the Haymarket Theatre on December 7, 1842, in a one-act piece 
from the French, entitled 'The Bastille.' On June 3, 1843, at the 
Haymarket, Madame Celeste played a principal part with Mr. 
Benjamin Webster in ' Louison,' a version of ' The Angel of the 
Attic ' (then being performed at the Princess's Theatre) ; and sub- 
sequently, at the same theatre, with the same actor, the heroine in 
' Victor and Hortense,' another French vaudeville. In 1844, in con- 
junction with Mr. Benjamin Webster, she entered upon the manage- 
ment of the old Adelphi Theatre, and may be said to have been the 
originator of. the success which for so many years attended the 
production of so-called domestic drama at that theatre. Madame 
Celeste was the creator of leading parts in many well-known 



■A4flelphi dramas, in not the least noteworthy of which, 'The Green 
Bushes,' by J. B. Buclistone, first performed January 27, 1845, she 
was the original Miami — a character which she invariably acted 
with uncommon vigour and pathos. This play is so intimately 
associated with the history of the " Old Adelphi " that we may be 
pardoned for giving the subjoined outline of its plot, together with 
the names of those who were in the original cast : — 

" The scene of the first act of ' The Green Bushes ' is Ireland — 
the coast of Galway; the time 1745. Connor O'Kennedy (Selby), 
an Irish gentleman, is obliged to fly his country for political 
reasons. He continues to linger as long as he can near his wife, 
Geraldine (Mrs. Yates), and his home. His younger brother, 
George (Mr. Hudson), anxious to gain possession of the family 
estates, eagerly counsels flight, trusting that Connor once away will 
never return. Wild Murtoch (Mr. O. Smith), a rascally horse- 
stealer, is the accomplice of the younger brother in his nefarious 
schemes. Traitor, however, to all, he tries to surprise and take 
Connor with the view of obtaining the reward offered by Govern- 
ment for his apprehension ; but the plot fails ; the soldiers, when 
they make their appearance at the moment of the fugitive's em- 
barkation, are overpowered by the peasantry, and Connor escapes 
to America, leaving his wife and infant child under the protection 
of the former's foster-sister, Nelly O'Neil (Mrs. Fitzwilliam). These 
matters, interspersed with an Irish row, and some pretty Irish 
singing by Mrs. Fitzwilliam and Mr. Hudson, form the somewhat 
barren materials of the first act. With the second the real interest 
of the piece commences. Two years have elapsed, and we find 
ourselves in America, near a log cabin by the Mississippi. Here 
Connor dwells ; but, alas ! not alone. He iias_been unfaithful, and_ 
lives with Miami (Madame Celeste), the ' Huntress of the Missis-_ 
sippi,' assort of wild woman of Qie' woods, half Indian, h^FFrench, 
but, withal, a very pretty specimeiTof a coquette of the'wilderness, 
as skilled, too, in the rifle as she is witching in her sweertooks "and 
untutored words. But Connor is not happy ; he yearns for his 
forsaken wife and his oWn land. He treasures as a holy prize the 
only letter which has reached him from her, cons it over every 
moment he is alone, and has enough to do to allay the suspicions 
and rising jealousy of his half savage partner. At length comes a 
catastrophe, in the shape of the deserted wife. She has arrived 
in America to trace her husband. The meeting scene is well 
managed ; but while she is still half fainting in his arms, Miami 
appears behind. In a moment all her savage blood is roused. 
Half-a-dozen times is the rifle carried to her shoulder, and as often 
is the point let fall. Geraldine, weary and footsore, faints; her 
husband carries her to a neighbouring spring ; Miami follows the 
pair. At length, unable to control her fierce jealousy and passion, 
she fires, and Connor is shot through the heart. His wife frantic- 
ally flies for assistance, and unknowing whence the fatal blow has 
been struck, supplicates on her knees the aid of her husband's 
assassin. The last scene in the act represents Connor's death. 
His wife flings herself distractedly over the body. Miami stands 


by unmoved, the ' stoic of the woods.' With his last breath Connisu: 
entreats the murderer of the husband to protect the wife. He dies. 
Miami leaps madly into the river, and the drop falls upon the 
scene of her rescue by a party of French soldiers proceeding down 
the stream on a raft. We ought to mention that the tragic part 
of the act is relieved by the vagaries of Master Grinnidge (Wright), 
and Jack Gong (Paul Bedford), a showman and his factotum, who 
have arrived in America in search of a wild Indian, to clap into 
their caravan of curiosities at home ; unfortunately, however, 
getting caught by the Indians instead of catching any themselves. 

"The third act, and we are in Ireland again; two years more 
have elapsed ; George, the younger brother, is in possession of the 
family estates. The daughter of Connor, confided, when his wife 
went to America, to the care of Nelly O'Neil, has been stolen from 
her by the agency of George and Wild Murtoch, still his worthy 
accomplice ; the child is placed under the care of a village black- 
smith. An accident happening to a passing carriage introduces 
a stately lady beneath the smith's roof, but who, wonderful to tell, 
is no other than Miami, the mocassined, rifle-bearing huntress, 
however, sunk in the brocaded and polished French lady of quality. 
Saved by French soldiers, and brought home to her fatherland, she 
has claimed and obtained her heritage, and then proceeded to 
Ireland to make what atonement she could to the surviving child 
of her murdered lover. In the little girl in the blacksmith's shop 
she believes she recognizes the object of her search, and brings the 
child with her. Meantime, poor Nelly O'Neil is wandering dis- 
consolately about searching for the stolen girl, and continually 
singing an old Irish song which she had taught the child, the 
burden of which touches certain ' Green Bushes,' the only link, by 
the way, between the piece and its name. 

" George, meanwhile, hopes, by means of Miami, whose arrival 
he has heard of, to obtain more authentic accounts than he has 
yet had of his brother's death. Pending an interview, which is 
arranged, Geraldine, the widow of Connor, arrives, and falls in with 
Nelly O'Neil. George and Miami meet. The child is present. In 
the course of the interview Nelly sings ' Green Bushes ' outside ; the 
little girl recognizes the voice, flies to the window, and is as suddenly 
recognized by the wandering minstrel. Much of what remains can 
easily be conceived. The mother rejoins her daughter, and Miami, 
the murderer of her father, having accomplished her work of atone- 
ment in endowing the child with all her possessions, suddenly dies 
— we could not exactly make out how or why ; and so the curtain 
falls upon ' Green Bushes.' In all this there is, of course, plenty of 
extravagance and improbability ; but the energy of some of the 
scenes, and the effect of some of the situations tell well, and carried 
off the piece triumphantly. It was generally extremely well acted. 
Celeste played with great energy and spirit, interpreting the wild 
love of the Indian girl with feeling and effect." {Morning Chronicle, 
January 29, 1845.) 

On March 11, 1847, Madame Celeste played the part of Cynthia, 
first performance at the Adelphi of Buckstone's ' Flowers of the 


Forest.' " ' The Flowers of the Forest ' is a perfect Adelphi melo- 
drama," renrarked the Examiner (March '20, 1847), "in which the 
exact strength and resources of the company are exquisitely- 
measured. There is picturesque power for Madame Celeste and 
Mr. O. Smith; laughter and pathos for Mrs. Fitzwilliam; the 
broadest drollery for Messrs. Wright and Bedford; and a part for 
Miss Woolgar which gives admirable scope to her cleverness and 
versatihty. She plays a gipsy lad, on whose murder of one of the 
characters (under provocation of a horse-whip) the interest turns. 
The murder is seen by an Italian gipsy, who, with his daughter, 
has joined the English tribe, and in his hatred to the white race, 
not only screens the culprit, but diverts suspicion to an innocent 
man. But this purpose is foiled by his daughter, who sacrifices 
herself to bring justice home. The English gipsy girl, who protects 
the poor Italian whose sense of right had deprived her of her own 
lover, is a very pretty notion; and though Miss Woolgar is a 
somewhat young lover for the now (alas 1 that we should say it) 
elderly Mrs. Fitzwilliam, the acting of both is delightfully natural." 

In 1853 Madame Celeste was at the height of her popularity at 
the Adelphi Theatre, acting "with that high finish that elevates 
even melodramatic acting to the dignity of histrionic art." In 
June of that year, at the Adelphi, she personated the heroine in the 
first performance of Dion Boucicault's drama 'Gdndvi^ve; or, the 
Reign of Terror.' The drama, which embraced all the strength 
of the company, was acted to perfection. Mr. Webster, as the 
noble-hearted, generous Sorin ; Mr. Wigan, as the subtle, vin- 
dictive Dismer ; and Mr. Leigh Murray, as the impetuous, ardent 
Maurice, were all that might be expected from such artists — while 
Madame Celeste, as the sorrowing, heart-broken Genevieve, gave 
all possible pathos to the part. Mr. and Mrs. Keeley were also in 
the original cast. 

On Monday, March 20, 1854, at the Adelphi, Madame Celeste 
played the original Ruth Ravejisear, first performance of Messrs. 
Tom Taylor's and Charles Reade's drama ' Two Loves and a Life.' 
The Examiner (March 25, 1854),* alluding to the play, said : 
Madame Celeste never displayed more energy and spirit, more 
power of depicting half-untutored passion than in the part which she 
here sustains. 

On Monday, May 20, 1854, she performed the character oi Mdlle. 
Marco, first performance at the Adelphi of ' The Marble Heart,' 
adapted from ' Les Filles de Marbre ' (Barri^-e and Theboust), 
by Mr. Selby. " Madame Celeste was admirable as the callous 
woman of the world, spurning all human feeling in the insatiate 
pursuit of wealth." (Daily Keivs, May 24, 1854.) On Monday, 
February 5, 1855, first performance at the Adelphi of ' Janet Pride' 
(Boucicault), Madame Celeste played the title r^/^y and on Wednes- 
day, June 20, 1855, first performance at the Adelphi Theatre of 
'Helping Hands,' by Tom Taylor, she sustained the character 
of Margaret Hartmann. In the Christmas pantomime of the 

* Compare with Journal of a LonSon Flayt;ccr, Henry Morley, p. 82. 


same year ('Jack and the ]5eanstalk'), at the same theatre, she 
played Harlequin. In 1858, Monday, January 18, she was the 
original Marie Leroux, first performance of Watts Phillips's ' Pour 
Strollers,' likewise at the Adelphi Theatre. 

In the following year, 1859, Madame Celeste entered upon an 
engagement at the Lyceum Theatre, and " opened " there, Monday, 
January 3, as the heroine, Marion de L'Orme, in the drama of that 
title, translated from M. Emile de la Roche's play. In the follow- 
ing November she became the lessee of the Lyceum Theatre, and 
inaugurated her management, on the 28th of that month, with a 
piece entitled 'Paris and Pleasure ; or. Home and Happiness.' At 
the same theatre she produced, on Monday, January 30, i860, 
a play founded on Charles Dickens's ' Tale of Two Cities,' and 
sustained in it the character of Madame Defarge. On Monday, 
March 19 of the same year, at the Lyceum, she performed the 
part of the Abb6 Vaudreuil (afterwards a favourite character with 
Madame Celeste) in a play of that title by the late Colonel 
Addison; and on Monday, November 12 of the same year, 
Adrienne de Beaupr^, in a drama entitled 'Adrienne; or, the 
Secret of a Life,' which proved the most successful piece which 
Madame Celeste had brought out since her accession to managerial 
power. "The incidents are not, perhaps, always original, but they 
are so cleverly arranged with a view to effect, and the story is 
developed with so much artistic management, that the interest 
awakened almost immediately after the curtain rises is pretty 

evenly sustained until it falls The piece was admirably 

played throughout. Madame Celeste, in Adrienne, has one of 
those parts in which she appears to the utmost advantage ; and 
Mrs. Keeley, as the Italian serving-maid, cast in an English 
mould, was fitted to a nicety, and played with infinite animation 
and humour." {Daily Telegraph, November 13, i860.) 

On Monday, February 11, t86i, was produced at the Lyceum 
'The House on the- Bridge of Notre Dame' (translated from the 
French of MM. T. Barri&re and H. de Kock), in which Madame 
Celeste sustained the part of Ernest de la Garde, which sub- 
sequently became one of her most famous impersonations. 

In 1863 Madame Celeste -embarked on a lengthened foreign tour, 
and did not appear again on the London stage until 1868, in which 
year, on Easter Monday (April 13), she inaugurated a series of 
twelve farewell performances at the St. James's Theatre with a 
representation of the character of Rudiga in Stirling Coyne's 
drama of 'The Woman in Red.' The year 1868 did not, however, 
bring Madame Celeste's long professional career to an end. In 
May 1869, at the Princess's Theatre, she played Josephine Diibosc, 
first performance of Dion Boucicault's drama ' Presumptive Evi- 
dence ' ; and in the following year, on Saturday, October 22, 1870, 
at the Adelphi Theatre, in a revival of 'The Green Bushes,' her 
original character of Miami, a part which, perhaps, more than any 
other contributed to establish her popularity as an actress. " Of 
Madame Celeste's last representation," said th.e Athenaum (October 
29j 1870), "it may safely be said that it can scarcely be told from the 


earliest. When the actress crossed the familiar bridge behind the 
log cabin, her appearance was precisely that of former years, and 
neither voice, accent, nor bearing dispelled the illusion created." 
On Saturday, December 17, 1870, Madame Celeste again made 
her appearance on the Adelphi boards for her " farewell benefit." 
The characters she selected to represent on the occasion were the 
Abbe Vmidreuil and Miami. "Amidst the warmest wishes for her 
welfare that a very crowded, exceedingly enthusiastic, and a most 
sympathetic audience could express, Madame Celeste closed on 
Saturday night, with a farewell benefit, a long professional career, 
associated with a host of pleasurable recollections. Some forty 
years have passed away since the actress who came on Saturday 
evening before the public for the last time made her debut on the 
Drury Lane boards as a dancer who had then scarcely numbered 
fifteen summers. During this interval the reputation of the artist 
has steadily advanced, and, despite the difficulty, which was ap- 
parently insuperable, of the Parisian girl effectually mastering the 
English accent, few performers have ever become more closely 
identified with a long series of dramatic successes on the London 
stage. The remarkable power of pantomimic expression which 
was evinced at a very early stage of her histrionic progress 
suggested the construction of a number of dramas expressly de- 
signed to give employment to this special talent. What Mdlle. 
Celeste could accomplish as an intelligent interpreter of the mys- 
teries of the ballet was sufficiently manifested in her performance 
of the dumb girl Fenella in the opera of ' Masaniel^ o,' her graceful 
evolutions as Zejica in_the„opera of 'Maid QfL£asE5iere,'~Ker^ 
earnestness of manner in the famous Covent Garden spectacle of_ 
'The Revolt of the Harem,' arid her lively action" as the leader of 
the ' Danse des Folies ' in the opera of ' Gustavus the Third.' 
Dramatists, however, soon recognized the advantage of turning 
these capabilities to greater account ; and in such pieces as ' The 
Arab Boy,' ' The French Spy,' ' Prince Le Boo,' and ' The Child 
of the Wreck,' Mdlle. Celeste not only became a great favourite in 
this country, but obtained a repute which enabled her to acquire a 
large fortune and a widely extended fame in the United States. 

" At the old Adelphi, with which her later triumphs have been 
more intimately connected, her histrionic powers have been much 
further developed ; and in ' St. Mary's Eve,' ' Marie Ducange,' 
'■ Two Loves and a Life,' ' Janet Pride,' and ' Tartuffe,' her abilities 
as an actress have been conspicuously displayed ; whilst as Miami 
in ' The Green Bushes,' and Cynthia in ' The Flowers of the 
Forest,' her valuable assistance has been so distinctly felt that 
these dramas could never be revived without a reference to the 
accomplished actress who had originally given them their early 
popularity. Recalling these and many other such memories of a 
lorightly-illuminated theatrical past, elder playgoers mingled on 
Saturday night with those of the present generation, and shared 
together sympathies, regrets, and congratulations. 

" That Madame Celeste now retires from us in full possession 
of all her powers was sufficiently evinced by her admirable 



performance of the Abbi Vaudreuil in the fantastic drama of that 
name, which, adapted from the French by Colonel Addison,* was 
brought out at the Lyceum about ten years since, when the theatre 
was under her management. The encored minuet, danced with 
Miss Furtado, afforded a substantial proof at least that no ex- 
perience of physical deficiencies had enforced retirement from the 
stage. As Miami in ' The Green Bushes ' Madame Celeste, more- 
over, again showed that the Indian huntress still retained all the 
brilliancy of eye and force of expression which had long rendered 
this assumption one of the most noted in the repertory of the bdiU- 
ficiaire. The second act was alone performed, but it need hardly be 
stated that in this portion of the drama the very fullest demand is 
made on the powers of the actress. At the termination of each 
piece Madame Celeste was enthusiastically recalled, and greeted 
with prolonged plaudits." {Daily Telegraph, December 19, 1870.) 
Madame Celeste appeared subsequently at the Adelphi Theatre, in 
September 1872, for twelve nights ; in November 1873 for eleven 
nights ; and in October 1874 for twelve nights. On each occasion 
Miami in ' The Green Bushes ' was the character in which she was 
advertised to appear. Madame Celeste has now finally retired 
from the stage, and resides in Paris. 

CHALLIS, EDITH, first appeared at Niblo's Garden, New 
York, in ' After Dark ' ; subsequently coming to London she took 
the part of Mrs. Seabright in 'The Overland Route' at the Hay- 
market. Having revisited America, and appeared in ' The Two 
Roses,' ' Lalla Rookh,' ' Money,' and other plays in New York, 
Philadelphia, &c.. Miss Challis returned to London, where she 
appeared at the Court Theatre in ' Brighton.' She also played 
in the ' Danischeffs ' at the St. James's Theatre, in 'The Widow 
Hunt' with Mr. J. S. Clarke at the Haymarket, in 'The Vicar of 
Wakefield ' at the Aquarium Theatre, in ' The American Cousin ' at 
the Haymarket, with Mr. Sothern, and in ' Family Honour' at the 
Aquarium Theatre. 

CHAMBERS, EMMA, first attracted notice in the dramatic 
profession by her spirited performance of the part of Harry 
Halyard in ' Poll and My Partner Joe ' at St. James's Theatre in 
May 1 87 1. The following Christmas at the Alexandra Theatre she 
played the title role in the pantomime of ' Jack the Giant Killer,' 
and afterwards was engaged at the Strand and Olympic Theatres ; 
at the latter she was in the original cast of ' Sour Grapes ' (H. J. 
Byron), and created a favourable impression by her realistic im- 
personation of a young country girl. In 1875 Miss Chambers 
accepted a three years' engagement from the directors of the 
Royal Alhambra Theatre. She played there in various operas, and 
at the expiration of her Alhariibra engagement appeared at the 

* Steatite. Madame Celeste informs me that this play was the "ori- 
ginal " work of Colonel Addison, and not an adaptation from the French. 


Philharmonic Theatre as the Diredrice of the Convent, her ori- 
ginal part, in ' Le Petit Due' Upon the withdrawal of ' Le Petit 
Due,' she was engaged by Mr. Alexander Henderson to play 
Serpolette in ' Les Cloches de Corneville ' at the Globe Theatre. 
Christmas 1878 she appeared at the Prince's Theatre, Manchester, 
and is at present (July 1879) engaged at the Alhambra Theatre, 
acting in the operatic spectacle entitled ' Venice.' 

1 801. He was partly educated at the High School of Edinburgh, 
and was designed by his father (an actor of the Haymarket 
Theatre) for a printer. Young Chippendale was placed in James 
Ballantyne's office, and here he read ' Waverley ' for the press, 
and thus attracted the notice of Sir Walter Scott, who treated 
the lad on all occasions with much kindly notice as a " chip of the 
old block," the elder Chippendale being well known to Sir Walter. 
In the printing office young Chippendale became ill, and was 
removed and apprenticed to John Ballantyne, the celebrated pub- 
lisher and literary auctioneer, in whose sale rooms he became 
familiar with many distinguished authors and literary men of the 
day, notably Wilson, Lockhart, Patrick Robertson, James Hogg, 
and other" characters in the 'Noctes Ambrosianae,' and contributors 
to ' Blackwood.' He afterwards entered the service of a com- 
mercial firm, which failed, and thereupon became an actor. Prior 
to this the younger Chippendale had played under the auspices of 
his father at the Haymarket Theatre, in various children's parts to 
several members of the Kemble family. He entered the dramatic 
profession proper in 1819, appearing at Montrose as David in 
' The Rivals.' In the year following, Mr. Chippendale became a 
member of Mr. Alexander's company in Scotland, playing in 
Glasgow, Carlisle, Whitehaven, and other towns of his " circuit " 
up to the year 1836. He was principal comedian in the Lincoln, 
York, and Worcester Circuits, and in Edinburgh, Bristol, and Bath, 
where he met Edmund Kean, the elder Mathews, Mr. Macready, 
Miss Duncan, Kitty Stephens, and a host of celebrities. He 
worked in his early days with many actors with whom he was 
associated in later life, Mr. Compton, Messrs. Clark, Cullenford, 
&c., of the Theatre Royal, Haymarket. In the year last mentioned, 
having accepted an offer from Mr. Stephen Price, of the Old Park 
Theatre, New York, Mr. Chippendale went to the United States, 
where he remained for seventeen years, occupying at the Park 
Theatre very much the same position which the elder Farren at 
that time did in London. Returning to England in 1853 on Easter. 
Monday, March 28 of that year, Mr. Chippendale made his debut 
on the London stage at the Haymarket Theatre as Sir Anthony 
Absolute in ' The Rivals.' " It was a careful, measured, predeter- 
mined piece of acting. The passion was in no degree exaggerated, 
nor did it seem to fall short of the natural expression. But the 
character did not secure that marked prominence amono- the 
dramatis personce which we have seen it assume with our greater 
English actors." {Athenceuni, April 2, 1853.) 


For a period of twenty years Mr. Chippendale worked con- 
tinuously at the Haymarket Theatre, playing all the characters in 
his own line of business, and fulfilling, for a part of the time, the 
duties of stage-manager. The following, among other leading 
parts played by him during his long engagement at the Hay- 
market, are deserving of being mentioned, viz. Lord Bettertoii, 
in ' Elopements in High Life,' first performed at the Haymarket 
Theatre, Thursday, April 7, 1853; Sir Francis Gripe, in Mrs. 
Centlivre's comedy ' The ISusybody,' " revived " at that theatre 
in July 1855; Sullen, in 'The Beaux' Stratagem,' "revived" 
January 5, 1856 ; Hill Cooley, Esq., in Mr. B. Bernard's comedy 
' The Evil Genius,' first performed at the Haymarket, Saturday, 
March 8, 1856 ; Malvolio, in a revival of Shakespeare's ' Twelfth 
Night,' July of the same year; Old Adam, in a revival of ' As You 
Like It,' at the same theatre, September 4, 1856 ; Old Mirabel, in 
a revival of ' The Inconstant,' September 20, 1856 ; and Honeyhcn, 
in ' The Contested Election,' by Tom Taylor, first performed at 
the Haymarket Theatre, June 29, 1859. In i860, on Thursday, 
February 23, first performance of Tom Taylor's comedy ' The 
Overland Route,' Mr. Chippendale sustained the character of Com- 
missioner Colepepper. He played the part oi .Ingot, first perform- 
ance at the Haymarket of ' David Garrick,' Saturday, April 30, 
1864 ; and Mr. Fox Bromley, first performance at the same 
theatre, Monday, April 2, i865, of Westland Marston's play 'The 
Favourite of Fortune.' In October of the same year, in a revival 
of the younger Colman's ' The Heir-at-Law ' at the Haymarket, 
Mr. Chippendale played Lord Duberly. January 1867, first per- 
formance of Tom Taylor's comedy ' A Lesson for Life,' he sus- 
tained the part of Dr. Vivian. March 1868, first performance of 
*A Hero of Romance' (Westland Marston), he performed the 
character of M. Dumont. Monday, October 25, 1869, first per- 
formance at the Haymarket Theatre of Mr. Tom Taylor's comedy 
' New Men and Old Acres,' Mr. Chippendale sustained the part of 
Mr. Vavasour. 

In 1871, Monday, October 16, he appeared at the Haymarket in 
his old impersonation of Sir Anthony Absolute, upon the merits of 
which the AthencBum of the ensuing week made the following 
remarks : " The best impersonation in the entire performance is, 
however, the Sir Anthony of Mr. Chippendale. A little stiffness 
and formality which distinguished Mr. Chippendale's early repre- 
sentations has worn off. His general style has mellowed, and he 
is now one of the best of the very few actors we possess who can 
play the characters of old comedy. His laugh at his own jokes 
is quiet, undemonstrative, and unforced, and the whole repre- 
sentation has the courtliness without which a character such as 
this is apt to grow unpleasant." Perhaps the most important and 
best appreciated impersonations of Mr. Chippendale in " classic " 
comedy have been, in addition to the character already mentioned. 
Sir Peter Teazle, Sir Harcourt Courtly, and Mr. Hardcastle. 
During the long run of 'Hamlet' at the Lyceum Theatre (Sep- 
tember 1874-June 1875), Mr. Chippendale played the part of 


Poloiiius. Since that time he has appeared on various occasions 
at London and provincial theatres. In August 1878 he organized 
the " Chippendale Comedy Company " for a series of performances, 
in the provinces, of those plays in which his reputation was first 
made, " previous to his retirement from the stage." At the com- 
mencement of Mr. Irving's season 1878-9 at the Lyceum Mr. 
Chippendale played Polonius in the revival of ' Hamlet.' On 
Monday, February 24, 1879, he made his farewell of the stage at 
the same theatre in the same character (Mr. Irving acting Hamlet), 
the total receipts of the evening's performance, through Mr. Irving's 
generosity, being reserved to the veteran actor, who spoke a few 
words of farewell at the end of the play. It may be interesting 
to note, that in the course of his long career Mr. Chippendale has, 
in the character of Polonius, supported Edmund Kean, Charles 
Kemble, Charles Young, Harry Johnson, Macready, John Vanden- 
hoff, Charles Kean, Barry Sullivan, Edwin Forrest, Booth, Cres- 
wick, and, finally, Henry Irving. 

CHIPPENDALE, MARY J. {nie SnOWDON), wife of the 
above-named, was born at Salisbury. She entered the dramatic 
profession in 1855 as member of a company of comedians perform- 
ing in a small circuit of towns in the north of England, after- 
wards joining the Theatre Royal, Dublin, and continuing a member 
of the company there for two years. She made her professional 
ddbut on the Manchester stage, in the name of " Seaman," in the 
autumn of 1859, appearing as Mrs. Major de Boots, in Stirling 
Coyne's comedietta ' Everybody's Friend.' In 1863, in the name 
of Snowdon, her first appearance on the London stage was made 
at the Haymarket Theatre in the part of Mrs. Malaproj) in ' The 
Rivals.' In 1866 Miss Snowdon was married to Mr. Chippendale 
of the same theatre. Mrs. Chippendale continued to play at the 
Haymarket Theatre from 1865 to 1874 in the various original 
pieces and revivals of the older comedies produced during that 
period under the superintendence of Mr. J. B. Buckstone. In 1875 
she fulfilled an engagement at the Court Theatre; and subse- 
quently, in 1878, joined the company of the Lyceum Theatre, where 
she performed the character of Martha (wife of Marcel) in a 
revival of ' Louis XL' Two of the most important of Mrs. Chip- 
pendale's impersonations are Mrs. Candour (' The School for 
Scandal ') and Mrs. Malaprop (' The Rivals '). 

CLARKE, JOHN S., was born in Baltimore, Maryland, 
United States of America, in 1834, of' EngHsh extraction; his 
mother was a grand-daughter of John King, who held an official 
position under the East India Company, and his grandfather, 
Stephen Clarke, was a London merchant. Mr. Clarke was educated 
with a view of practising law in the United States ; but in 1852 
adopted the stage as a profession. In that year, August 28, he 
made his professional d^but at the Old Chestnut Street Theatre, 
Philadelphia, in the part of Soto, in a revival of Cibber's play ' She 
Would and She Would Not,' Subsequently he became leading 

comedian of the Front Street Theatre in that city ; and afterwards, 
until 1861, joint lessee with Mr. Wheatley of the Arch Street 
Theatre. In that year Mr. J. S. Clarke appeared with considerable 
success in New York at the Winter Garden Theatre, of which he 
subsequently became joint lessee, and so continued until 1867, 
when the theatre was destroyed by fire. In 1865, in conjunction 
with his brother-in-law, Edwin Booth, he purchased the Walnut 
Street Theatre, Philadelphia, and in 1866 became joint lessee of 
the Boston Theatre for a brief period. In October 1867 Mr. J. S. 
Clarke made his iirst appearance on the London stage at the St. 
James's, Theatre as Major Wellington de Boots (a very eccentric 
part, originally sustained by Mr. Buckstone) in Stirling Coyne's 
comedietta ' Everybody's Friend,' altered to the title of ' A Widow 
Hunt.' Mr. Coyne had remodelled the play and strengthened the 
part especially for Mr. Clarke. Although originally sustained by 
Mr. Bupkstone, the character was not certainly considered, at the 
period of its first introduction to the Haymarket, in April 1859, 
remarkable as being the central figure of the drama. In America 
it had, however, grown up apparently into a figure of overshadowing 
magnitude, which, as in the case of Lord Dundreary in 'Our American 
Cousin,' completely overwhelmed the other personages of the play. 
Mr. J. S. Clarke had manifestly made the attributes of the really 
timorous, but professedly valiant, militia major the subject of earnest 
study. By a free use of flexible and humorously-expressive features, 
abundantly employing illustrative gesture, and filling up the action 
with a multitude of small details, which, if occasionally extravagant, 
were invariably funny, he established the character in a higher 
position than it had hitherto held in London. " The affected 
swagger, with the consciousness of cowardice, and the domineering 
manner controlled by the sense of marital subjection, could hardly 
have found more emphatic expression. To the constant laughter 
created among the audience the actor may confidently refer in evi- 
dence of his complete success." {Daily Telegraph, October 17, 1867.) 
In February 1868, at the Princess's Theatre, Mr. Clarke played 
the part of Salem Scudder in a revival of 'The Octoroon'; sub- 
sequently, in the same year, he appeared at various towns in the 
provinces, and afterwards returned to the Strand Theatre, where he 
acted Young Gosling in a piece entitled ' Fox versus Goose.' "Jack 
Gosling, as executed by Mr. J^ S. Clarke, is a most remarkably 
specimen of grotesque humour. Silly good humour and unreason- 
able irascibility alternate with each other, and when the unfortunate 
youth is left alone, thoroughly ' done over,' his drollery becomes 
irresistible. There is genius in every patch of colour. ... It is 
wonderful how the comic genius of Mr. J. S. Clarke breaks through 
difficulties when its manifestation is least expected. Sometimes 
the influence of cumbrous matter threatens to make all dramatic 
peculiarity fade out, and its sudden reappearance is almost startling. 
In the scene of the duel. Gosling, whose sole object it is to make 
mortal combat impossible, objects to the rifles, which he himself 
has previously selected. He is asked what weapons he would 
prefer. ' Cannons,' he thunders forth, astounded at the brilliancy 



of his own notion. His adversary sneeringly suggests that he 
would not even fight with ' pop-guns,' whereupon he vehemently 
declares that he would. The pop-gun is even better than the 
cannon, and the avidity with which he jumps at the new means of 
escape is surprisingly droll." On Monday, July 26, 1869, at the same 
theatre, he appeared in a leading ydle {Bdbington Jones), in a 
comedy by John Brougham, entitled 'Among the Breakers.' Wrote 
\!ae. Athenceum (July 31, 1869) : — " Mr. J. S. Clarke played his part 
in a very laughable fashion. His facial play is always droll, and 
his manner of bearing his unmerited misfortunes was as funny as it 
could be. Mr. Clarke has a curious power of changing rapidly his 
expression, which he often employs. His mouth widens, his eyes 
distend, and his whole face is expressive of unrestrained merriment. 
Suddenly, with a sort of self-rebuke, as though he had committed 
himself, he assumes the preternaturally grave countenance of a wag 
who had forgotten himself and made a joke at a funeral. The 
effect of this is very comic." 

Afterwards, at the same theatre during the same year, he played 
Toadies (one of his favourite and best known characters) in the 
farcical Comedy entitled ' The Toodles.' On Saturday, February 5, 
1870, he sustained the part of Dr. Pangloss, in a revival, at the 
Strand, of the younger Colman's comedy of 'The Heir-at-Law.' As 
to this performance the Daily News (February 7, 1870) remarked- : — 
" The success of the comedy, which was produced for the first time 
in 1797, at the Haymarket, is sufficiently explained by the original 
cast, which included such stars as Snett, Palmer (whether John or 
Robert we know not), Fawcett, Charles Kemble, and Munden ; but 
it is remarkable that the original Pangloss, whose character is the 
very pivot of the play, was not regarded as satisfactory, the best • 
critics considering John Bannister, Fa.wcett's successor in the part, 
as superior in that 'stiff solemnity and slowness of utterance' 
appropriate to the obsequious tutor. Mr. J. S. Clarke's Pangloss 
is probably different in numerous points from either of those 
originals. It is full of those abrupt transitions from slow utterance 
to quick, from a low tone to a high, from repose to activity, which 
are only saved from degenerating into mere mannerisms by the 
real comic genius of the actor. In his peculiar roll of the eyes, his 
smiles suddenly checked at full height, his eccentric inflections of 
voice, and grotesque exits, it is, indeed, easy enough to recognize, 
even under the quaint wig and Georgian clerical costume, our old 
friends Wellington de Boots and Timothy Toodles j but there are 
still abundance of touches in his performance — ^like his sudden and 
serious contemplation of the old chandler's countenance to watch 
the effect of his magnificent Latin and Greek quotations — which 
are really artistic and new." Said the Times of the same date :— 
"Those who associate this mirthful little theatre with entertain- 
ments of the lightest class will be surprised to learn that the old 
Standard comedy, 'The Heir-at-Law,' of the younger Colman, 
decidedly the best work of an indifferent school, attained a most 
decided success when revived in three acts on Saturday night. 
Folks are in the habit of laughing loudly at the Strand, but never 


did they laugh more loudly than at this ' legitimate ' farce. Let us 
remark, by the way, that certain obstacles to mirth which occur in 
the five-act play, and which were apparently relished by our fathers, 
are removed in the compressed version. The purpose of the 
revival is obviously to furnish Mr. John S. Clarke, the American 
comedian, with a new part of strongly marked character. He plays 
Dr. PaHgloss, and takes a view of that model tutor which is 
perfectly consistent with the text, and which affords occasion for 
the display of the broadest humour. According to Mr. Clarke, 
Pangloss IS riot a dry pedant, but a genial swindler with pedantic 
embellishments, who has the greatest difficulty in conceding the 
delight afforded by the triumphant success of his own dishonesty. 
An urbane man, too ! He chuckles inwardly at the cacology of his 
noble patron, but he corrects his mistakes with the utmost delicacy^ 
rather suggesting than demanding an amendment, the embodied 
spirit of insinuation. On one occasion only is he thoroughly grave, 
and that is when he is cotripelied by Dick Dowlas to dance in the 
streets, and he sees in that dance the ruin of his prospects. The 
legs partially move, but the face is sad." 

Mr. Clarke reappeared with considerable dclatm. New York on 
April 17, 1870, and subsequently performed with much success 
during the same year at the various principal cities in the United 
States. In Jiily 187 1 he returned to England, and on the 29th of 
that month " opened " at the Strand Theatre as Dr. Pangloss, 
which character he sustained for a " run " of one hundred and fifty 
nights. His next appearance in London was at the same theatre 
on Saturday, ■ March 9, 1872, as Dr. Ollapod, in the younger 
Colman's comedy of ' The Poor Gentleman.' 

The great success of ' The Heir-at-Law,' in which Mr. Clarke's 
Pangloss will be long remembered, had probably suggested to 
the management to revive another comedy of George Colman's. 
" FrOm Pangloss to Ollapod is an easy transition. Until lately 
these two stage figures, once so familiar in the eyes of English 
playgoers, had become somewhat indistinct, for the Haymarket, 
which may be said to have been the last home of the old comedies, 
has, of late years, consigned the plays of George Colman to a sort 
of hohburable superannuation. No one, however, who witnessed 
the performance of ' The Heir-at-Law ' at the Strand will be dis- 
posed to deny that there are qualities in these pieces which not 
only explain their old popularity, but are quite sufficient. to give 
them new life when they are put upon the stage with tolerable care. 
Ollapod, it must be confessed, is a character neither so amusing 
in itself nor so completely worked out as the part of the obsequiouis 
tutor. ' Neither character has the slightest pretence to depth. The 
country apothecary and cornet of volunteers and the time-serving 
pedantic private tutor are both rather compounds of oddity than 
studies from life. Their eccentricities, however, are at least con., 
ceivable ; and it would be a great mistake to condemn them simply 
because they are artificial creations. The fact is, that our capacity 
for enjoying the inventions of the novelist's or the dramatist's brain 
is by no means strictly limited to the probable, much less to average 

H 2 


types'of men. Some of the most successful of stage characters — ■ 
Paul Pry and Lord Dundreary for example — are personages 
certainly not to be found off the stage. Yet they could hardly be 
called characters of farce, for their attributes are rather humorous 
than broadly comic, and their elements, if strangely mixed, are not 
entirely remote from human traits. Thus the toadying and pliant 
' bear-leader ' of old times is, after all, the foundation of Pangloss, 
as is the country apothecary of Colman's days, with his narrow 
views of life, his bland servility and fussy patriotism, the foundation 
of Ollapod. The queer habits and sayings with which they are in- 
vested are the mannerisms of the author, whose thorough know- 
ledge of the essentials of stage success saved him from going too 
far in this way, while his hearty relish for odd people and quaint 
dialogue is manifested in the overflowing drollery of the scenes. 

" Mr. J. S. Clarke is a mannerist, as nine comic actors out of ten 
have ever been, and this is, to a certain degree, a disadvantage 
when performing in succession two characters having so many 
superficial points of resemblance as Pangloss and Ollapod. When 
he stops abruptly with the frequent exclamation, ' Thank you, good 
sir, I owe you one,' the spectator cannot fail to be reminded of 
Pangloss's abrupt mention of the names of the authors whom he 
delights to quote ; and, as all Mr. Clarke's admirers will understand, 
the same constrained walk, and frequent chuckle, and self-admiring 
smile, and frequent roll of the eye which were conspicuous in 
Pangloss and Wellington de Boots flourish again in the case of the 
eccentric apothecary. But all these things are very droll in them- 
selves, and the ungainly attitudes of the proprietor of the Galen's 
head when in his full regimentals — including the traditional large 
brass helmet— are irresistibly comic. Mr. Clarke received from 
a crowded audience an enthusiastic welcome." {Daily News, 
March ii, 1872.) 

On Thursday, June 27, 1872, at the Strand, he performed the 
part of Paul Pry in Poole's well-known comedy ; and, subse- 
quently, Robert Tyke in ' The School of Reform,' exhibiting in 
the part "a remarkable mastery of the Yorkshire dialect and a 
power of expressing strong emotional feelings, which prove his 
range to be by no means limited to eccentric comedy." During 
the several seasons Mr. Clarke has played in London he has taken 
up, one after the other, most of the leading characters of broad 
comedy. His representations, depending largely upon facial play, 
have a generic likeness, and it is rather by aid of such accessories 
as costume than by means of any special portrayal of character 
that the spectator distinguishes one from the other. The imper- 
sonation of Paul Pry, the hero of Poole's well-known comedy, has 
much in common with his Dr. Ollapod and Dr. Pangloss. In 
absolute extravagance of drollery Mr. Clarke approaches nearer 
Listen perhaps than any subsequent interpreter of the character 
first named. 

In November 1872 he opened the Charing Cross Theatre under 
his management, and produced ' The Rivals,' in which he sustained 
the part of Bob Acres. Since the above date Mr. Clarke has 


appeared from tirhe to time in London in the round of characters 
already specified. In April 1874 he appeared at the Holbom 
Theatre as Phineas Pettiephogge in a five-act melodrama by 
H. J. Byron, entitled ' The Thumbscrew.' In the autumn of 1878 
he assumed the lesseeship and direction of the Haymarket Theatre. 
On Monday, December 1, 1878, he produced there 'The Crisis' (a 
version of M. Emile Augier's ' Les Fourchambault '), by Mr. James 
Albery. The principal players in the piece were Messrs. Charles 
Kelly, Terriss, and Howe, and Mesdames John Wood, Eastlake, 
and Louise Moodie. The acting was in some instances exception- 
ally good, and the play was a success. On Easter Monday, 
April 14, 1879, Mr. Clarke produced an original "comedy-drama," 
in five acts, by W. G. Wills, entitled ' Ellen ; or. Love's Cunning.' 
Though one or two of the scenes of this play were excellent (notably 
those in which Thomas Pye (Charles Kelly) and Lady Breezy 
(Miss B. Henri) bore a principal part), considered as a whole it 
was a conspicuous failure, and was removed from the bills after a 
week's performance, giving place to 'The Rivals,' in which Mr. 
J. S. Clarke resumed his old part of Bob Acres. Subsequently, 
in May, 'The Crisis ' was revived; and on Thursday, June 12, 
1879, 'Brag' (W. G. Wills), an amended version of the same 
author's 'Ellen.' This piece, like its predecessor, was unsuccessful. 
The summer season 1879 ended Tuesday, June 24, and with it Mr. 
Clarke's lesseeship of the Haymarket Theatre, which was transferred 
to Mr. and Mrs. Bancroft. 

CLAYTON, JOHN (a nom dethi&trej John Alfred Clayton 
Calthrop), was born at Gosberton, Lincolnshire, February 14, 
1845, and made his first appearance upon any stage, February 27, 
1866, at St. James's Theatre, London, in the character of Hastings 
in ' She Stoops to Conquer.' In the following year (in August), 
at the Olympic Theatre, Mr. Clayton appeared in a comedietta 
entitled ' Six Months Ago,' in which his acting was favourably com- 
mented on. The same month of 1867, at the same theatre, he 
played the part of Laudvy Barbeau in ' The Grasshopper,' a 
dramatization of Madame Dudevant's story ' La Petite Fadette.' 
The piece had already been presented in America. On March 27, 
1869, first performance of T. W. Robertson's comedy ' Dreams,' 
he played the part of Earl Mount Forrestcourtj and at the 
Gaiety Theatre in the July following, first performance of W. S. 
Gilbert's comedy ' An Old Score,' the part of young Calthorpe. 
The same year, Monday, October 11, at the same theatre, first per- 
formance of 'A Life Chase' (by Messrs. Oxenford and H. Wigan), 
Mr. Clayton played Vaubert. In December of the same year, at 
the Gaiety, he was the original Joe Lennard, first performance of 
' Uncle Dick's Darling.' In February 1876, at the Princess's, he 
played Nigel in a revival of ' The King o' Scots ' ; in May of the 
same year, at the Court Theatre, in a. dramatic version of ' Great 
Expectations,' the part of J aggers j and in the ensuing November 
the part of Mr. Jormell, first performance at the same theatre 
of H. T. Craven's comedy ' Coals of Fire.' In July 1872, at the 


Vaudeville Theatre, in a revival of ' The School for Scandal,' Mr. 
Clayton played the part of Joseph. Surface. The piece was per- 
formed for four hundred and twelve consecutive nigits, being the 
longest " run " Sheridan's comedy has yet obtained. In a second 
adaptation of ' Marcel ' (MM. Sandeau and Decourcelle), entitled 
' Awaking,' first performed at the Gaiety Theatre, December 14, 
1872, Mr. Clayton sustained the leading rSle with great povwer. 
" Though his [Mr. Clayton's] voice was wanting in that quality at 
once grave and tender, which, as we have already said, would be 
necessary to give due effect to the part, and he seemed, unfortu- 
nately, unable to shake off some mannerisms — a peculiar roUing 
gait, for example — in many passages he fairly surmounted all dis- 
2>dvantages. The fine gradations of the father's return to reason, 
and his horror at the imaginary picture of the child lying dead at 
his feet, were depicted by him with much subtlety and power ; but 
the most touching part of his performance was in the closing scene, 
when a simple exclamation indicates both his return to reason and 
his perception of the fact that the little child before him is another 
son born to him in the early days of his insanity, and now destined 
to fill the place of his lost brother in his affections." {Daily News, 
December 17, 1872.) In 1873, on Saturday, September 27, in a 
revival at the Lyceum Theatre of ' Richelieu,' Mr. Irving in the 
title role, Mr. Clayton sustained the part of Louis XIII. The 
following year (1874), on Saturday, February 7, in a new drama 
produced on that date at the Lyceum Theatre, entitled ' Philip 
(Hamilton Aide), he played Juan de Miraflore. On Saturday, 
March 13, 1875, the opening night of the Court Theatre under Mr. 
Hare's management, in a new comedy by Mr. Charles Coghlan, 
entitled ' Lady Flora,' Mr. Clayton sustained the part of George de 
Cl/avannes. The same year, on Monday, October 18, at the 
Mirror Theatre, London, first performance of 'All for Her ' (Messrs. 
Palgrave Simpson and Herman Merivale), he sustained the part of 
Hugh Trevor. Mr. Clayton's presentation of the character was so 
successful that he afterwards performed it in London and the pro- 
vinces for a period of nearly two years. The Daily Telegraph 
(October 20, 1875) thus remarked on the performance : — " Mr. 
Herman Merivale, cordially assisted by his friend, Mr. J. Palgrave 
Simpson, has once more enriched the literature of our modern 
stage with a play glowing with the rich warmth of poetical feeling 
and of serious dramatic value. Once more has a young actor 
come boldly to the front, and shown himself not only capable of 
appreciating the high intention of his authors, but of interpreting it 
to the complete satisfaction of his audience. The actor is Mr. 
John Clayton, who has won his position by intense application and 
rafe industry, and has secured his success by one of those impul- 
sive bounds which are as surprising to the public as they are 
delightful to all who make the drama their special study. It will 
be needless, we trust, to waste many words upon steady play- 
goers in urging particular attention to this new play, ' AH for Her.' 
It will be superfluous, we believe, to demand healthy and hearty 
criticism upon an art-study so meritorious as the Hugh Trevor of 


Mr, Clayton. But there are tirties when it appears to be the duty 
of the critic to abandon the dull office of chronicler, and to lead a 
cheerful chorus of congratulation. All who know Mr. Merivale's 
work, and appreciate the value of such an author, will lose no oppor- 
tunity of seeing the new play." And the Times (January 13, 1876), 
noticing the same play after it had been before the public for some 
weeks, expressed the following opinion upon its merits and Mr. 
Clayton's acting : — " ' All for Her ' is certainly the niost powerfully 
written play which has bpen on the English stage for some years. 
. . . . ' All for Her ' was well played in Holborn, but it is still 
better playe4 in St. James's. It does not often fall to the'lot of an 
actor to have such a part as that of Httgh Trevor assigned to him ; 
but, on the other hand, it is not eiyeryone wlip cg^n grasp his oppor- 
tunity when it is- before him. Thjs Mr. Clayton has done. It 
would have been easy to make Trevor, the poor, reckless, good-for- 
nothing drunkardj a very repulsive person ; but this Mr. Clayton 
has not done. Philip, drunk or sober, is still a gentleman, an^ 
from first to last this fact is kept before us with exceptional art. S9 
skilfully managed, too, both by author and actor, is the birth and 
growth of Trevor's hopeless love for the woman who is to be his 
brother's wife, that the burning of thf only proof of his legitiniacy, 
and the last great sacrifice at the close of the play, seem to us, 
while we fully recognize their nobility, hardly more than a man 
placed in Trevor's position would havg dpne. We are pleased, too^ 
to note another point, and no common one, in Mr. Clayton's 
acting. Snch a part, depianding the exercise of physical as well as 
other powers, wh,en played nigh,t after night, is terribly susceptiblf, 
as we have many p;'pofs, of exaggeration : but we can discover no 
sign of this at the St. James's any more than was to be seen at the 
Mirror. On the contrary, it seenas tp us that Mr. Clayton lias 
modified on? or two littlf trifling Excesses of voice and gesture 
which yiss^ apparent in the earlier representations." 

On Saturday, January 6, 1877, first performance at St. James'? 
Theatre of the English version of ' The Danischejfs,' Mr. Clayton 
sustained the character of Osi^. Va. 1878, January 12, first perform- 
ance at the Prince of Wales's of ' Diplomacy,' he played the part 
of Henry Beauc^rf. "The two great scenes in this play are the 
second and third acts. On these f:ested the fan^ie of the French 
piece, which, in other respects, yt^as considered to be occasionally 
too diffuse and slightly deficient in vitality. The first of tfiesp 
scenes, however, has acquired a distinction unusual even ainong' 
the great traditions of the French stage, and the corresponding 
scene in the English piece may vcell attain an equal honour in the 
annals of our own stage. In this, the husband learns on his 
wedding day, from the lips of a friend ignorant of the marriage, 
that he has taken to wife a tj-aitr«ss axid a. spy. The friend, learning 
top late the indiscretion of which he has been guilty, would retract 
his words, but h^ is forced tp speak, and estabhshes what caii- 
npt but seem cpnclusive proof of the truth of what he has said. 
The husband refusing to believe, and yet scarcely daring to dis- 
believe, what he has heard, spares no effort to establish his wife's 


innocence ; but the secret enemy at work is too strong for him, and 
all his efforts unfortunately tend to establish but too clearly her 
guilt. Then ensues the second of the famous scenes where the 
husband and wife, after mutual apologies, offers of forgiveness, and 
recrimination, alternately advanced and withheld, part to meet, they 
vow, no more. The closing act is occupied with the restoration of 
the wife's innocence and the conviction of the real criminal — a 
Russian Countess in the pay of the Russian police, whose rejected 
love for the husband has led her to take this terrible vengeance 
on the wife and through her on him. The means by which 
a happy conclusion is attained, though somewhat weak in art, 
and apt, perhaps, to strike the spectator as more ingenious 
than ingenuous, are skilfully contrived to further those ends of 
justice which the stage of comedy requires. In the first of the 
great scenes, the acting of Mr. Bancroft, Mr. Kendal, and Mr. 
Clayton, respectively impersonating the friend, the husband, and 
the brother, could not well be bettered. The situation is, in itself, 
very striking, and presented as it is by these three gentlemen, it 
brought down from a,ll quarters of the house such applause as is 
seldom heard in this theatre, where satisfaction is wont to be 
expressed after a somewhat languidly decorous fashion. \See also 
Bancroft, S. B.} . . . On Mr. Clayton's shoulders devolved, 
perhaps, the hardeist share of the scene, for he has much to do but 
scarcely a word to say. It is his business to watch and control his 
brother, to soften the severity of the blow, and to temper indignation 
with reason. In this he is assisted but little by the authors, his 
words are of the fewest and the simplest, his manner and his action 
are his own, and both are marked with true and natural propriety 
of expression. Mr. Clayton's performance, indeed, is throughout 
one of the soundest and most consistent among so many good ones, 
and the only exception we could probably take to him would be in 
the closing scene, where we doubt whether he might not soften his 
manner towards the wretched woman from whom his craft has 
drawn a full confession of her crime. Here, however, his conduct 
is, we suppose, more directly indicated by the text." (Times, 
January 21, 1878.) 

On Saturday, January 11, 1879, in a revival of 'Caste 'at the 
Prince of Wales's Theatre, Mr. Clayton played George D'Alroy 
(his predecessors in the part being Frederick Younge, H. J. 
Montague, and Charles Coghlan) ; and on Saturday, May 31 of 
the same year, at the same theatre, he played in a revival of W. S. 
Gilbert's ' Sweethearts.' It is understood that at the end of the 
summer season 1879 Mr. Clayton joins Mr. Boucicault's company 
at Booth's Theatre, New York. 

CLEMENTS, FRANK, was born in Aberdeen, July 8, 1844. 
He studied for the Church of Scotland at King's College, Aberdeen, 
for some tinie ; but, finally, in 1 86 1 left that University and entered 
the dramatic profession. In the same year he appeared on the 
stage for the first time at the New Theatre, Birmingham, and 
afterwards entered upon engagements at various theatres in the 


provinces. His first appearance as "leading actor" was at the 
Theatre Royal, Birmingham, where Mr. Clements remained during 
two years, performing from time to time in the following parts, viz. 
Macbeth, lago, Claude Melnoite, Master Walter, Romeo, Richard 
HI., &c. He undertook in 1869 the management and leading 
business at the Theatre Royal, Nottingham, for one year. In 1870 
he returned to the Theatre Royal, Birmingham, as " leading 
actor," and remained a member of the company of that theatre 
until December 1873, afterwards joining Mr. Sefton's travelling 
company to play leading parts in 'Pygmalion and Galatea ' and 
' The Palace of Truth.' In July 1874 Mr. Clements made his first 
appearance in London at the Lyceum Theatre as Lord Moray in 
'Charles I.' In March 1875 he commenced a "starring" tour in 
the provinces, which continued until July 1877, during which time 
Mr. Clements visited the principal towns and cities of the United 
Kingdom, playing nearly every leading legitimate and Shakespearian 
character. The Liverpool Dadly Post noticed his performance of 
Macbeth as follows ; — " Mr. Clements played Macbeth with an in- 
tellectual power and dignity far above the average, and with an 
absence of staginess which cannot be too highly commended." 
Mr. Clements rejoined the Lyceum company on its provincial tour 
in 1877 ; and in 1878 in London sustained the part of Philip ck 
Commines in the revival of ' Louis XL' at the Lyceum Theatre. 

CLIFFORD, FDWIN, was born at King's Clifie, North- 
amptonshire, and entered the dramatic profession in 1867, He 
accepted an engagement for three successive seasons at the TTheatre 
Royal, Dundee, and subsequently passed into the company -of Mr. 
Wilson Barrett. He made his first appearance in London at the 
Victoria Theatre, September 24, 1876, in the character of Ishmael 
the Zingaro, in a romantic drama entitled ' The Shadow of Death.' 
Mr. Clifford has devoted himself chiefly to the impersonation of 
the characters of Shakespearian tragedy, and his performances of 
Hamlet, Macbeth, Othello, and other leading rdles have been 
appreciated in a large circle of provincial towns. 

CLIFTON, FREDERIC, was born May 29, 1844, and entered 
the dramatic profession in 1861, making his first appearance at the 
Theatre Royal, Reading. After a varied experience in almost every 
line of theatrical business, he accepted an engagement in 1865 as 
musical lecturer and entertainer at the Royal Polytechnic Institu- 
tion. Subsequently he fulfilled an engagement of a Uke character 
at the Crystal Palace. In 1868 Mr. Clifton appeared in London 
as the English original Krakwitz in Offenbach's ' Last of the 
Paladins.' Since then he has sustained original parts in various 
operas and opera bouffes, &c., at the Criterion Theatre, the 
Egyptian Hall, the Royalty, Alhambra, and Gaiety Theatres, and 
at the Crystal Palace. He has been from the commencement of 
Mr. D'Oyley Carte's management (November 1877), and is still 
(July 1879), engaged at the Opdra Comique, Lindon, performing 
in Messrs. Gilbert and Sullivan's, successful comic operas. Mr, 


Clifton was in the original cast of ' H.M.S. Pinafore,' by the same 
author and composer, produced at that theatre Saturday, May 25, 
1878, as Bill Bobstay (boatswain's mate). He is the author of ' A 
Theory of Harmony,' published by Boosey and Co., and has com- 
posed the incidental music for several works favourably noticed by 
the London press. 


■^COGHLAN, CHARLES F. A leading actor of considerable 
merit in modern comedy, whose most noteworthy appearances on 
the London stage are associated with the period of his engage- 
ments at the Prince of Wales's Theatre, 1870-6. Previous to the 
year first named he had acted in London, with more or less success, 
at the Olympic, St. James's, Lyceum, and Holborn Theatres. In 
1870, on Saturday, April 23, at the Prince of Wales's Theatre, first 
performance of ' M.P.' (T. W. Robertson), Mr. Coghlan acted the 
part of Chudleigh Dunscombe. The same year, November 26, at 
the same theatre, he played, in a revival of ' Ours,' Angiis McAlister, 
the part originally taken by Mr. Bancroft ; and in the following 
year, in a revival of ' Caste,' George UAlroy, his predecessors in 
this character being Mr. F. Younge and Mr. Montague, both 
deceased. In May 1872, in a revival of ' Money,' and dLring the 
" run " of the play at the Prince of Wales's Theatre, he sustained 
the part oi Alfred Evelyn, and " succeeded well in giving life to that 
very difficult character. To speak naturally some of the stilted 
speeches put into Evelyn's mouth is beyond the powers of mortal 
man, and it is most creditable to Mr. Coghlan's art that the 
discursive philosophy is rarely tedious, and sometimes even inter- 
esting." In April 1874, in a revival at the same theatre of 'The 
School for Scandal,' Mr. Coghlan performed the part of Charles 
Surface, as to which the Daily News (April 6, 1874) remarked :^- 
" Mr. Coghlan's Charles comes perhaps nearest of all the male 
parts to the ideal of the character. His high spirits and frank 
insouciance had a genuine tone about them, heightened, however-^- 
as they ought to be — by that dramatic colouring in which some of 
the minor characters were sadly wanting. A few performances 
before real audiences will doubtless add a completeness to the 
representation, which even the careful rehearsals bestowed on all 
pieces brought out at this theatre are sometimes powerless to give.'.' 
" Of Mr. Coghlan's Charles Surface there cannot be two opinions. 
He is easy, elegant, buoyant, gentleman-like, without any of the 
coarseness which frequently disfigures him ; and his smallest 
touches indicate a profound conception accompanied by facility of 
execution. Had ' The School for Scandal ' been performed in the 
old instead of the new fashion, there is no doubt that Mr. Coghlan 
would still have shown his pre-eminence." {Times, April 9, 1874.) 
In November of the same year, first performance at the Prince of 
Wales's of an "original dramatic contrast," written by W. S. 
Gilbert, entitled ' Sweethearts,' Mr. Coghlan performed the part of 
Harry Spreadbrow, Mrs. Bancroft as Jenny Northcote. In April 


' 1875, at the same theatre, he acted the part of Sky lock in a revival 
of ' The Merchant of Venice,' which was a failure, though placed 
on the stage in the most sumptuous 'manner. " With the success 
of the revival Mr. Coghlan's Shylock will have little or nothing to 
do. It is a failure, not through lack of intelligence, but in con- 
sequence of the application of an unsound theory. In a house 
where Mr. Robertson's name so long predominated, and where the 
grand object has been an imitation of the manners of modern hfe, 
Mr. Coghlan has evidently formed the opinion that the style of 
acting suitable to Robertsonian comedy would equally fit the 
stormiest creations of the Elizabethan era. He deliberately avoided 
not only traditional points, but all point whatgyer, and when 
emphasis was naturally suggested it seemed that he purposely 
shunned it. Sometimes one was inclined to hope that, like Signor 
Salyini, he was holding his forces in reserve, and would break out 
4t an unexpected moment, but the moment never came. The 
suppressed rage at ShylocWs final exit showed that the actor 
perfectly understood the meaning of the situation, hut his theory 
forbade him to give it effect. And in the soft, but not less crushing 
embraces of the same theory were nearly all the performers held, 
exciting less mirth, less grief, less terror, than could be produced 
by persons of far inferior attainments acting under ordinary cir- 
cumstances.'' {Times, April 19, 1875.) "^^ same year, in August, 
at the Princess's Theatre, Mr. Coghlan sustained the part of 
Claude Melnotte to Miss Ellen Terry's Pauline in ' The Lady 
of Lyons.' This impersonation calls for no special comment. It 
was not very successful. Mr. Coghlan left for the United States 
in the year foUbwingj and after a career there of unusual success 
returned to London in July 1879. He has some reputation as a. 
dramatist, having written ' Lady Flora ' and ' Brothers,' and a 
clever little version of ' La Partie de Piquet,' entitled ' A Quiet 
Rubber,' all produced at the Court Theatre under Mr. Harems 
management in 1875-6. Mr. Coghlaji also completed and revised 
for die stage Lord Lytton's play ' The House of Darnley,' first 
performed at the same theatre. 

* COGHLAN, ROSE, first attracted notice on the London 
stage by her excellent acting of the part of Lady Marsden in 
Messrs. Palgrave Simpson and Herman Merivale's three-act drama 
'AH for Her,' first performed at the Mirror (Holborn) Theatre, 
Monday, October 18, 1875. " ' All for Her ' was received on the first 
night with acclamations of more than ordinary warmth, and the 
authors were enthusiastically summoned to appear before the 
curtain. Mr. Merivale was not present, but Mr. Palgrave Simpson 
responded to the call, and in the course of a few remarks said that 
but for the excellence of the acting the success of the piece would 
not have been so gre^t. In this he only rendered justice to Miss 
Coghlan and Mr. Clayton, the full measure of whose deserts, it 
may be confidently asserted, have never been known until now. 
Miss Goghlan's Lady Marsden is remarkable for vigour of concep- 
tion, forcible expression of totally distinct feehngs, earnestness of 


purpose, and natural dignity of demeanour. Her treatment of the 
scene with Hugh in the second act is characterized by much 
dehcacy, and it was difficult' to believe that the actress who had 
• appeared to advantage in the light-comedy scene with Colonel 
Damer could display such power as is witnessed when, at the end 
of the second act, she hears that Hugh has been playing a part 
in order to capture her lover. Her pathos and tenderness in the 
last act, too, created a perceptible effect upon the audience." 
{Times, October 22, 1875.) Since the last-mentioned year Miss 
Rose Coghlan has been engaged on the American stage. 

COLLETTE, CHARLES, was born in London, July 29, 1842. 
He was educated for the Army, and held a commission for seven 
years in the 3rd (Prince of Wales's) Dragoon Guards. Having 
retired from the service in 1866, two years afterwards (November 
1868) he entered the dramatic profession, and made his first 
appearance in London the same year at the Prince of Wales's 
Theatre in Edmund Yates's comedy 'Tame Cats.' Among im- 
portant impersonations sustained by Mr. CoUette, subsequently, at 
that theatre, the following, in the "revivals" and productions of the 
several plays to which each character relates, are deserving of 
being mentioned, viz. Colonel Berners, Sir Oliver Surface, Old 
Sowerberry, Chillichutney, C Sullivan (in 'Society'), Sir John 
Vesey, and Serjeant Jones (in ' Ours '). As Sir Patrick Lundie, in 
a revival of Mr. Wilkie CoUins's play of ' Man and Wife,' Mr. 
Collette has also attracted favourable notice. In addition to the 
Prince of Wales's, this actor has appeared at the following London 
theatres in leading parts, viz. at Drury Lane, Strand, Gaiety, 
Olympic, Vaudeville, Alhambra, Surrey, Royal Park, Princess's, 
Opdra Comique, and at the principal theatres in the provinces. 
He has attracted favourable notice for his acting as Sir Fretful 
Plagiary and Puff m 'The Critic'; Old Tom in 'After Dark'; 
Micawberm 'Little Em'ly'; Felix Featherstone in 'The Snowball'; 
and Professor Lobelia in ' Love Wins.' Mr. Collette is the author 
of a farce entitled ' Cryptoconchoidsyphonostomata,' the princip^ 
character in which {Plantagenet Smith) is a stage-creation of his, 
and, it may be added, one in which he has secured well-merited 

COMPTON, EDWARD,, son of the weU-known comedian, the 
late Henry Compton, of the Theatre Royal, Haymarket, and 
brother of the under-mentioned Katherine Compton, was born in 
London. He first appeared on the stage at the New Theatre Royal, 
Bristol, September 22, 1873, in a subordinate part {Long Ned:) in a 
play entitled 'Old London,' and remained six months at that 
theatre. In AprU 1874 he went on tour in Mr. Francis Fairlie's 
company, "ostensibly for 'walking gentlemen,' but playino- such 
mixed ' business ' as Richard Hare and Earl Uountseverii\' East 
Lynne '), Dr. Brown (' Progress '), Crabtree and Careless (' School 
for Scandal')." At the Bristol Theatre Royal, on the occasion of a 


benefit performance, lie appeared in the part of Mdlvolio {' Twelfth 
Night '), Mr. Henry Compton, Mr. Chute, and Mrs. Kendal being 
in the cast. After playing many leading parts in the legitimate 
drama at Blackpool, Newcastle-on-Tyne, and elsewhere, going 
through what the subject of this record in a letter describes as 
" awful work," but which, doubtless, represents only the common 
experience of all actors at the outset of their career, Mr. Compton 
entered upon a long engagement with Mr. Glover at Glasgow and 
Kilmarnock. At these places he became extremely popular, and 
largely increased his knowledge of stage art by the opportunities 
which were presented him of supporting well-known players in 
their "starring" engagements. On March 6, 1876, Mr. Compton 
" opened " at the Prince of Wales's Theatre, Liverpool ; and in 
the following September at Theatre Royal, Birmingham, as " lead- 
ing gentleman." On the occasion of a Benefit to Mr. Henry 
Compton at Drury Lane Theatre, March i, 1877 — in all respects 
one of the most remarkable ever tendered to an actor* — Mr. 
Edward Compton played the character of Evelyn in the first 
act of Lord Lytton's ' Money.' Following the termination of the 
season at Birmingham he entered upon a long engagement with 
Mr. H. J. Byron to play in ' Cyril's Success ' (Cyril) and other of 
his plays. On October 22, 1877, at Prince's Theatre, Manchester, 
he appeared for twelve nights in support of Miss Wallis in 
Shakespearian parts, Romeo, Orlando, &c., with considerable 
success, after which he went on tour with the same lady, and 
appeared in the following among other characters, viz. Romeo, 
Benedick, Charles Surface, Claude Melnotte, St. Lo, Master 
Wildrake, and Ingomar. In the presentation of these Mr. Comp- 
ton was equally successful. September 28, 1878, in a revival of 
the ' Winter's Tale ' at Drury Lane Theatre, he enacted the part 
of Florizel. In other Shakespearian revivals that followed at the 
same theatre in the same year Mr. Compton appeared as Cassio 
{' Othello '), Malcolm (' Macbeth '), Leonatus (' Cymbeline '), Romeo 
('Romeo and Juliet'), &c. In the summer season 1879 Mr. 
Compton joined the company of the Theatre Royal, Adelphi, 
where he appeared as Sir Benjamin Backbite in a revival of ' The 
School for Scandal.' He is the author of a modern comedy in 
three acts, entitled ' A Strange iRelation,' first performed at the 
Prince of Wales's Theatre, Liverpool, May 22, 1876, and of a 
comedietta in one act, entitled ' A Mutual Separation,' produced at 
the Princess's Theatre, Edinburgh, December 7, 1877, the leading 
parts being played by the author and Miss Wallis. In conjunction 
with his brother he published in May 1879 a biography of the late 
Mr. Henry Compton. 

* The Treasurer of the Committee entrusted with the general arrange- 
ments of the performances stated from the stage on the day of the Benefit 
that no less a sum than 4250/. had been realized in London and Man- 
chester. This amount was considerably increased afterwards by private 
subscriptions. Hardly a name of note on the English stage was absent 
from the programme of the occasion. 


KENZIE Critchett), sister of the afore-named, and daughter 
of the well-known comedian, the late Henry Compton, was born 
in London. She made her first appearance on any stage October 
1874, at the New Theatre Royal, Bristol, as Maria, in 'The 
School for Scandal.' Miss Compton remained at Bristol playing 
a round of characters until April 1875, and in the following month 
accepted an engagement in Mr. Wybert Reeve's travelling company 
of comedians. October 18, 1875, under Mr. Sefton Parry's manage- 
ment, at the Theatre Royal, Hull, she played the Dauphin 
(' Louis XL"), Mr. Charles Dillon in the title rdlej and in July of 
the same year, at the Theatre Royal, Manchester, sustained the 
character of Emily Worthingion in a revival of the comedy of 
'The Poor Gentleman,' for her father's benefit. Miss Compton 
made her first appearance on the London stage at the Gaiety 
Theatre, May 3, 1877, as Julia ('The Rivals'), on the occasion of 
a benefit performance for Mrs. Chippendale. During the same 
year she played at the Globe and Aquarium Theatres : at the last- 
named, the character of Maria (' The School for Scandal ") for a 
run of six weeks ; and on April 20, 1878, at the St. James's 
Theatre, created the part of Lucy Merivale, in the drama of ' Such 
is the Law' (Taylor and Meritt), being thoroughly successful. 
The part was played by Miss Compton until the termination of the 

CONQUEST, GEORGE (the Elder), was born in London, 
and first appeared on the stage at the Grecian Theatre in panto- 
mime " about twenty-five years ago." Has attracted notice by 
his clever acrobatic performances, having at various times per- 
sonated with equal success " an octopus, a crab, a bat, a porcu- 
pine," and last, not least, "a tree," and being possessed of the 
most marvellous facilities for changing " instantaneously from a 
dwarf to a full-grown man, &c." From the foregoing it will be at 
once admitted that Mr, Conquest's a:bilities as a pantomimist are 
of no mean order ; and to judge from contemporary journals his 
remarkable illustrations of animal and still life have been greatly 
relished by the playgoing public. 

CONQUEST, GEORGE (the Younger), son of the above- 
named, first appeared on the stage at the age of eight years in 
the pantomime of ' Robinson Crusoe,' in which he sustained the 
part of " The Dog " with admirable abihty. Mr, Conquest has 
acted in various pantomimes with his father, and generally " in 
acrobatic parts," and, like him, has attained a considerable repu- 
tation by his skilful performances in that direction. 

* CONWAY, H. B. (a nom de thidtre; H. B. Coulson), was 
born in 1850, and educated at Rossall School and the University 
of Berlin. He made his first appearance on the stage at the 
Olympic Theatre in November 1872 in the part of Bernard, in 
Dubourg's play 'Without Love.' Subsequently he sustained the 
part of David Copperfield in a revival of ' Little Em'ly.' In 1873, 


September 27, in a revival of ' Richelieu ' at the Lyceum Theatre, 
Mr. Gonviray acted the part of Francois. At the same theatre, 
during subsequent seasons^ he appeared in the following parts, 
viz. Christian, in ' The Bells ' (Leopold Lewis) ; Lord Moray, in 
' Charles the First' (Wills) ; Comte de Flamarens, in ' Philip ' 
(Hamilton Aidd) ; and as Osric, during the long " run " of 
' Hamlet.' In August 1875 he joined the company of the Hay- 
market Theatre, and " opened " there as Dick Dowlas, in a version 
of the younger Colman's comedy ' The Heir-at-Law.' On Monday, 
January 17, 1876; he sustained the part of Romeo, in a revival of 
Shakespeare's tragedy at the same theatre, a performance which, 
in the opinion of the Athenaum (January 22, 1876), might " be 
considered the first effort in imaginative art of a young actor who 
has shown, hitherto, few qualifications beyond youth and good looks, 
with a moderation of style whichj if not ascribable to timidity, is a 
sign of intelligence. As such it was a creditable impersonation. 
Mr. Conway's bearing is gallant, his speech is not wanting in 
passion, and his general rendering, except in the scene in the 
Friar's cell — one of the most difficult in the drama-^was effective." 
At the Haymarket Theatre Mr. Conway has at various times acted 
the following parts: — Orlando, in 'As You Like It'; Lucio, in 
' Measure for Measure ' ; Lord Tinsel, in ' The Hunchback ' ; 
Sebastian, in ' Twelfth Night,' in addition to various characters in 
less important pieces. In 1876 he joined the company of the Royal 
Court Theatre, and, on November 2, played there the part of Fred 
Meredith in a piece entitled ' The Brothers.' His careful acting of 
this character received favourable notice. In August 1878 Mr. 
Conway joined the company of the Prince of Wales's Theatre for 
"juvenile lead." He has since that date appeared there as Julian 
Beauclerc in ' Diplomacy' ; and on Saturday, May 31, 1879, in a 
revival of Mr. Buckstone's comic drama ' Good for Nothing,' Mr. 
Conway played the part of Charlie, and in Palgrave Simpson's 
farce ' Heads or Tails,' Harold Dyecaster. 

* COOPER, F., son of the under-mentioned Thomas Cooper, 
is a member of the Lyceum company, and has appeared in sub- 
ordinate parts in the series of dramas and tragedies brought out 
under Mr. Henry Irving's management during 1879. 

* COOPER, HARWOOD, son of Mr. Fox Cooper, made his first 
appearance on the London boards at the City of London Theatre, 
May 5, 1845. He was at the Olympic Theatre for a long period, 
when Mr. Robson was playing there with Mr. Alfred Wigan as 
manager. Mr. Cooper has generally appeared in small character 
parts, in the rendering of which he has shown himself a competent 
actor. He has been for some years connected with the Adelphi 

COOPER, THOMAS CLIFFORD, was born in London, and 
is the son of a pianoforte manufacturer, who, being kiUed by the 
overturning of a stage coach, left a large family, unprovided for. 


Mr. T. C. Cooper, having a predilection in that direction, thereupon 
turned his attention to the stage for a means of liveUhood, and 
joined a dramatic club of which the late Leigh Murray, W. H. 
Eburne, J. Kinloch, and others were some time members. After, 
wards he entered the dramatic profession proper, and passing 
through " the usual struggles and vicissitudes incidentail to a 
country actor's life," was engaged by Mrs. Warner at the Majy- 
lebone Theatre, of which that lady had the management during 
1847-8. Mrs. Warner, it may be remarked, was one of the most 
distinguished and respected of our actresses, who for years main- 
tained her family by her exertions in the highest departments of 
dramatic art. Professor Henry Morley, in his Journal of a London 
Playgoer, relates a very touching incident, showing the esteem in 
which Mrs. Warner was held by those who knew her and had the 
privilege of witnessing her admirable acting some thirty years ago. 
When Mrs. Warner relinquished the management of the little 
theatre off the Edgware Road, Mr. Cooper became a member of 
the company of her successor, Mr. Watts, and subsequently was 
engaged by Madame Vestris and Charles Mathews when they 
leased the Lyceum Theatre in 185 1. For some years Mr. Cooper 
undertook the responsibilities of a provincial manager, and in such 
capacity introduced Italian opera (and one of its most admirable 
exponents, Mdlle. Piccolomini) to the notice of the playgoers of 
Hull and other large towns in the north of England. He was for 
twelve years a member of the stock company of the Theatre Royal, 
Manchester, and " in the off season conducted the little theatre at 
Oxford." At Manchester Mr. Cooper became very popular. Among 
original parts sustained by him in recent years the following are 
entitled to notice, viz. Colonel Challite, in a play entitled ' Alone ' ; 
Colonel O'Fipp, in ' Tom Cobb,' a role played by him with much 
care and humour; Moriiboy, in 'Ready-Money Mortiboy' ; Cobham 
Brown, in ' Tottles,' &c. Mr. Cooper has been recently engaged 
at the Lyceum Theatre under Mr. Irving's management, and has 
appeared during the season of 1879 ^s Polonius, in 'Hamlet'; 
Parson Meadows, in ' Eugene Aram' ; Joseph, in 'Richelieu,' &c. 

CORNOCK, J. R. See Crauford, J. R. 

COULSON, H. B, See Conway, H. B, 

COVENEY, HARRIET (Mrs. JECKS), was born in London, 
and is the youngest of thirteen children, all of whom have 
appeared on the stage ; Miss Coveney's parents having been for 
many years connected with the Theatre Royal, Haymarket. She 
made her first appearance on the stage, at the age of seven, at the 
Adelphi Theatre, Edinburgh, as Zoe,\TL 'The Pet of the Petticoats'; 
and continued to play children's parts there and at other theatres in. 
Scotland for some time, making a decided success at the Theatre 
Royal, Glasgow, in the character of Oliver Twist. She became a 
very proficient dancer under the instruction of Leclercq. Miss 
Coveney made her dibut on the London stage at the Victoria 

CRAUFORD, J. R. ir3 

Theatre, where she gained' considerable reputation as a spirited 
character dancer, vocalist, and performer of children's parts. After 
playing^ in the provinces, she. " opened " at the Adelphi Theatre 
on " Boxing Night " (Christmas),' 1849, as. Princess Agatha, in 
the burlesque of ' Frankenstein,' by the Brothers Brough ; and 
in 1850-5J-52, and later, appeared at the Surrey and at Drury Lane 
Theatres in pantomime, in which Miss Ha^rriet Coveney has always 
excelled. Among her impersonations of more recent )fears, the 
following are- entitled to mention as having secured special recog- 
nition for their artistic excellence, viz. Mother Shipton, in E. L. 
Blanchard's pantomime ' The Dragon of Wantley,' performed at 
Drury. Lane Theatre, 1 870-1 ; Polly Mittens, la 'The Water 
Witches,' played at the Globe Theatre, May 1871 ; the page 
Adolphe, in ' Palsacappa,' an English version of Offenbach's ' Les 
Brigands '; the title role in R. H. Edgar's extravagwza of ' Crichton,' 
produced at the Charing Cross Theatre in August rS/i ;. Sunbeam, 
in E. L. Blanchard's ' Legend of Spring ; or, the Victory of the 
Sunbeam,' performed at the Crystal Palace, Sydenham, Easter, 1872. 
In the autumn of 1872, at the Opfra Comique, Miss Harriet 
Coveney played the part of the Marquise in. ' L*CEil Cr^ve.' 
" Miss Harriet Coveney's part of the mysterious Marchioness is 
altogether dramatic, or perhaps we- ought to say melbdramatic. The 
wonderful thing about it is the manner in which it is played, the 
performance being, in its way, as good as Rachel's PhSdre or 
Histories Medfea — as gpod, that is to say, as can be imagined. Any 
sort of liberty is, by convention, allowed to a burlesque actress, 
but the mysterious Marchioness never steps beyond the strictest 
limits of her part, which she renders with a burlesque-tragic feeling 
almost poetical from its intensity."' {Pall Mall Gazette, October 24, 
1872.) Miss Coveney is an artist of considerable versatility. For a 
number of years she has been altaost indispensable at. Drury Lane 
in the Christmas pantomime. She has been^recejitly acting the part 
of Flibbertigibbet 'va. a revival of Andrew HalUday's drama 'Amy 
Robsart,' at the Adelphi Theatre, London. 

CRABBB, MRS. Se^ Herbert, LomsA. 

CRAUFORD, J. R. (a nam de thMtrej CoRNOCK), first appeared 
on the stage at the Princess's Theatre, Edinburgh, and played 
through the "stock" season of 1873-4. Various country engage- 
ments followed. He made his dibut in London at . the Mirror 
Theatre, Holborn, when it was under the management of Mr. 
Horace Wigan, and subsequently appeared at St. James's, Princess's, 
Gaiety, Olympic, and Globe Theatres. For the " stock " season of 
1866-7 he played at the Corinthian Theatre, Calcutta. He has 
been on several provincial tours with theatrical " stars " ; and in 
1879 was engaged to support Mr. E. A. Sothern. Mr. Crauford is 
the author of some successful farces. 

CRAUFORD, MRS. J. R. See Ingram, Alice. 


CRAVEN, HENRY T., dramatist and actor, was born in 
Londbn, February 26, 1821, and entered the dramatic profession in 
1840, making his dibut on the London stage in 1850 at Drury Lane 
Theatre, on which occasion he played Orlando in a revival of 
' As You Like It,' Mrs. Nesbitt sustaining the part of Rosalind. 
The year following he appeared at the Strand Theatre in an operetta 
which attained some success, and of which he was the authoir, 
entitled 'The Village Nightingale.' In 1854 Mr. Craven went to 
Australia, where he remained until 1859. In the year following 
he appeared at the St. James's Theatre in a little one-act comic 
drama, 'A Border Marriage,' first performed at the Adelphi 
Theatre. "The piece in itself is trifling, and it secures the 
suffrages of the public by the spirit with which it is acted ; and 
certainly on its revival the authors have no ground of complaint 
against the executants, for every one engaged in the piece enters 
con amore into his or her part, and the result is that ' A Border 
Marriage' amuses the audience. The plot of the piece simplyturns 
upon a widow being entrapped into a marriage with one of six 
needy cavaliers, who, after the battle of Worcester, find themselves 
in the castle of one of their number without a maravedi in their 
pockets ;• and the chief interest is gained by the after-marriage 
wooings of the hero and heroine, which pass through changes vary- 
ing from stormy to fair, and terminate, finally, at ' set fair.' . . . 
Mr. Craven, as the hero, embodies the character with great vivacity; 
he is the genial cavalier with his jolly companions, and alternately 
a playful and an impassioned lover when in the presence of his wife. 
. . . Judging from the manner in which the piece was received last 
night, ' A Border Marriage ' seems likely to keep its place on the 
bills of the St. James's Theatre for some time to come." {Standard, 
February i, i860.) 

Mr. Craven had decided upon retiring from the stage in this 
year; but the death of Mr. Robson, for whom he had prepared 
the character of ' Milky White,' induced him later to reconsider 
his decision. Already he had won reputation as the author of 
three plays which had attained considerable popularity. — 'The 
Post Boy,' produced at the Strand Theatre, October 31, i860; 
' The Chimney Corner,' first performed at the Olympic, February 
21, 1 861; and 'Miriam's Crime,' first performed at the Strand 
Theatre, October 9, 1863. In 1864, on Wednesday, September 28, 
a new two-act play from his pen, entitled ' Milky White,' was pro- 
duced at the Strand, in which Mr. Craven himself undertook the 
rdle that he had intended for Mr. Robson. The piece obtained 
a decided and deserved success. "The author," remarked the 
Daily Telegraph (September 29, 1864), "has not only to be con- 
gratulated on the literary power and constructive skill with which 
he has worked out an exceedingly original idea, but he has also 
to be complimented on the cleverness with which he has embodied 
the effective character who is the hero of the story so happily 
imagined. Already well known as a dramatist who has furnished 
the stage, in ' The Chimney Corner ' and ' The Post Boy,' with two 
excellent specimens of this class of composition, his histrionic 


achievements have, in this country at least, scarcely been con- 
sidered as prominently associated with his name. As an actor 
as well as an author Mr. Craven wiU henceforth find himself well 
remembered by the puWic. It would be difficult to name any 
comedian who could have more thoroughly realized the part. . . . 
The ingenuity with which the piece is constructed can only be 
faintly suggested by an outline of the story ; but equally touching 
the sympathies and rousing the mirth of the audience, it secures 
their interest and amusement to the very last. The writing abounds 
in quaint turns of expression, some of them so daringly tipped with 
verbal flippancies that the serious situations are occasionally en- 
dangered by their utterance. . . . Mr. Craven has rendered ' Milky 
White' one of the most original and effective stage portraitures 
of real life which has been ever included in the theatrical gallery." 

This play had a " run," not only in London, but in the provinces, 
and was revived at the Strand Theatre, with Mr. Craven in his 
original character, in the following year. On April 17, 1865, he 
produced at the Strand a new drama entitled ' One Tree HiU,' 
in which he sustained the part of Jack Salt. On Monday, June 4, 
1866, Mr. Henderson, of the Prince of Wales's Theatre, Liverpool, 
tested the merits of a five-act comedy called ' The Needful,' after- 
wards transferred to the St. James's, London ; the author, Mr. H. 
T. Craven, in both instances playing the character of Abraham 
Store. On October 17, 1866, Mr. Craven produced at the Royalty 
Theatre a new play entitled ' Meg's Diversion,' in which he ap- 
peared as Jasper. ' Philomel,' a romantic drama by him, was 
first represented at the Globe Theatre, February 10, 1870, and 
' Barwise's Book ' likewise written by Mr. Craven), at the Hay- 
market, April 20, 1870. On Monday, November 20, 1871, at 
the Court Theatre, he produced ' Coals of Fire,' in which he 
sustained the character of J06 Ricketts, His latest dramatic pro- 
duction was an historical play called ' Too True ! ' at the Puke's 
Theatre, January 22, 1876. Mr. Craven is a genuine humorist, 
and contrives to blend the pathetic and comic sides of human 
nature in a manner that places him in the front rank of living 
actors. Since Mr. Robson, whose style Mr. Craven recalls, no 
English actor has equalled him in presenting beneath a droll ex- 
terior underlying touches of subtle pathos. He is the author of a 
novel entitled ' Old Time,' published in 1876. 

CRESWICK, WILLIAM, was born in 1813, and made his first 
appearance on the London stage in 1835 at the Queen's Theatre 
(now the Prince of Wales's), at that date under Mrs. Nesbitt's 
management. He played the part of Horace Meredith in a piece 
of Douglas Jerrold's called ' The Schoolfellows.' In 1836 there was 
a so-called theatre in Magdalen Street, Oxford, open when there 
were none but townfolk to go to it. In this unpretending building 
Mr. Creswick and Mr. H. Marston were accustomed at times to 
perform Macbeth and Banguo together, and those who wished to 
see the performance from the boxes were directed to go through 
" the door adjoining Mr. R. Stevens's, Fruiterer's, No. 9, Magdalen 


n6 The dramatic list. 

Street." Thus early did Mr. Creswick essay Shakespearian chai 
racter, in the presentation of which he became, in a few years, one 
of the most proficient of English actors. After playing in Mr. 
Downe's company on the York, Leeds, and Hull "Circuit," he 
visited the United States and Canada, where he remained about 
three years. On his return to England he undertook the " leading 
business" successively at Newcastle-on-Tynie, Liverpool, and Bir- 
mingham. He first appeared on the London stage, in Shake- 
spearian drama, July 25, 1846, at Sadler's Wells Theatre, during 
the third season of Mr. S. Phelps's management, in the part of 
Hotspur, Shakespeare's 'Henry IV.' "The appearance of this 
gentleman (Mr. Creswick) on the London stage had excited com 
siderable interest in the theatrical profession ; and the expectations 
formed of him have not been disappointed. He seized the chivalric 
and poetic in the character with an enthusiastic readiness fuU of 
promise. With his qualifications there can be little doubt that Mr. 
Creswick will become a highly popular actor; and to the theatre 
where he has now made his dibut he is unquestionably an im- 
portant acquisition.'' {Athenccum, August i, 1846.) On the second 
occasion of Mr. Creswick's appearance at the same theatre he 
sustained the character oi Master Walter in 'The Hunchback.' 
In 1847, Monday, April 26, at the Princess's Theatre, he performed 
the same part with remarkable success, on the night of Mrs. 
Butler's (Fanny Kemble) reappearance on the London stage after 
her long absence in America. At, the same theatre, during the 
following month, he performed the part of St. Pierre, in Sheridan 
Knowles's theii popular play ' A Tale of Mantua.' In July of the 
same year Mr. Creswick accepted a three years' engagement at the 
Haymarket Theatre, under Mr. Benjamin Webster's management, 
and " opened " the season by playing Claude Melnotte (with Miss 
Helen Faucit) in 'The Lady of Lyons,' and subsequently True- 
worth in 'The Love Chase.' October 4, 1847, first performance 
of Westland Marston's drama 'The Heart of the World,' at 
the Haymarket, Mr. Creswick sustained the character of Vivian 
Temple, Miss Helen Faucit acting the part of Florence Delmar. 
The following year, at the same theatre, Monday, October 23, in a 
revival of 'The Patrician's Daughter' (Westland Marston), he 
played the part of Mordaunt. Thursday, December 14, 1848, at 
the Princess's Theatre, Mr. Creswick played Proteus, in a revival 
of ' The Two Gentlemen of Verona ' ; and subsequently The Ghost 
in 'Hamlet,' and Cassia, and other important characters in the 
various Shakespearian revivals produced during the year 1848 by 
Mr. Charles Kean at that theatre. In 1849 Mr. Creswick entered 
upon the management of the Surrey Theatre in conjunction with 
Mr. R. Shepherd, and on the opening night of his first season, 
Monday, September 17, sustained the character of Alasco, in 
Sheridan Knowles's ' Rose of Arragon.' On Monday, September 24 
of the same year, he played Virginius in the drama of that 
title, followed by The Stranger, and justified his " character of a 
meritorious and well-informed actor." In the same year, in 
October, at the Surrey Theatre, he placed ' Richelieu ' upon the 


stage, restoring to that drama "those poetic passages that, from 
its first presentation to its last, had always been omitted .... the 
result to be recorded is that these restorations are among the 
passages most applauded — that the poet's sympathies had all along 
been right, and the actor's conventional prejudices wrong." Mr. 
Creswick's Richelieu \% one of the best of his assumptions. It has 
many fine points, and is marked throughout by steady execution 
and clear characterization. 

On Monday, October 12, 1849, Mr. Creswick played Hamlet 
with great success. In the following year, at the Surrey Theatre, 
in a new play entitled 'Old Love and New Fortune' (H. F. 
Chorley), performed for the first time February 18, he sustained 
the part of La Rogue. Among noteworthy plays produced by Mr. 
Creswick during his management, and in which he played a leading 
part, the following are entitled to mention, viz. a dramatization of 
' David Copperfield,' first performed Wednesday, November 13, 
1850; 'The Woman of Colour; or. Slavery in Freedom,' first 
performed in November 1853; 'Dred' (F. Phillips), produced in 
October 1856; 'Cromwell,' a tragedy by the same author, based 
on Victor Hugo's play of that title, first performed in February 
1859; 'The Changed Heart,' founded on a French drama, 'Le 
Comtesse de Noailles,' first performed in January i860; a revival 
of the tragedy of ' Damon and Pythias,' produced February 7, i860 
(Mr. Creswick in the first-named character) ; a dramatic version of 
George EUot's 'Adam Bede,' first performed February 28, 1862, 
Mr. Creswick playing the title rSlej and a drama in four acts, 
entitled ' The Four Stages of Life,' first performed in April of the 
same year. In September 1862 Mr. Creswick retired from the 
management of the Surrey Theatre in favour of Mr. Shepherd, and 
for a time devoted himself to " starring " in London and the pro- 
vinces. In this way he became one of the established favourites 
of the Standard Theatre in London, always drawing a fuU house 
whenever his name was announced on the bills. On Thursday, 
November 6, 1862, on the occasion of a farewell performance of 
Mr. S. Phelps, " previous to his retirement from the manage- 
ment of Sadler's Wells Theatre," Mr. Creswick played Cassius to 
the Brutus of that accomplished player. During the Falconer- 
Chatterton management of Drury Lane, on September 24, 1864, 
Mr. Creswick appeared as Hotspur in a revival of ' Henry the 
Fourth ' at that theatre ; and subsequently, during the same 
engagement, as Othello, lago, Macbeth, Macduff, and lachimo. 
In 1865 he fulfilled a successful " star " engagement at the City 
of London Theatre ; and in the following year, in conjunction 
with Mr. Shepherd, once more entered upon the management 
of the Surrey. On the opening night, September 8, 1866, was 
produced " the T. P. Cooke's Prize Drama," by Mr. Slous, entitled 
' True to the Core,' in which Mr. Creswick " created " the part 
of Martin Truegold. This drama was a great success. The 
year following _it was performed with the original cast at the 
Princess's Theatre. Since 1B68 Mr. Creswick has fulfilled various 
engagements, and appeared in many " revivals " of Shakespeare's 


plays, and of the legitimate and poetic drama in London and the 
provinces. In 1871 he made his second visit to the United States, 
making his first appearance in the part of Joe, in ' Nobody's 
Child'; and afterwards, in conjunction with Charlotte Cushman 
and Edwin Booth, acted in ' Henry VIII.' and 'Julius Cassar,' and 
several other standard plays. In May 1877 he left England for 
Australia, and opened at Melbourne as Virginius in the following 
August. Since then he has played at Sydney, Adelaide, Hobart 
Town, &c. 

Katherine Mackenzie, 


CROWE, MRS. See Bateman, Kate Josephine. ; 


DALLAS, MRS. E. S. See Glyn, Isabel. 

DE FIVAS, SIDNEY. See Glover, Augustus. 

DIETZ, LINDA, was born in New York, and made her first 
appearance on the stage at the old Fifth Avenue Theatre in 1870, 
as Georgette in ' Fernande.' Her first appearance in England 
was at the Haymarket Theatre, August 30, 1873, in the parts of 
Caroline Bormer in 'The Heir-at-Law,' and Mrs. Feather ley in 
' The Widow Hunt,' with Mr. J. S. Clarke in the principal part. 
She appeared at the Haymarket the following season, and again 
at the Holborn Theatre, in 1874, with Mr. Clarke. Subsequently 
she played a short engagement at the Globe Theatre under the 
management of Mr. H. J. Montague. She then made a tour of the 
provinces as leading lady with Mr. E. A. Sothern, and travelled 
with him for a year in America. Miss Dietz gained her first 
theatrical success at the Union Square Theatre, New York, in the 
part of Valentine in 'A Celebrated Case,' and as MarcelU in 
' Mother and Son,' an adaptation of ' Les Bourgeois de Pont- 
PiXCy' which part she played at the Prince of Wales's Theatre, 
September 27, 1879, in a version of the same play entitled ' Duty.' 
Previous to appearing at the Prince of Wales's Theatre Miss 
Dietz had been supporting Mr. Clarke at the Haymarket in his 
farewell performances of ' The Heir-at-Law ' and ' The Widow 

DILLON, CHARLES, was born at Diss, Suffolk, in 1819. 
Prior tp his appearance on the metropolitan stage he had made a 
considerable reputation as an actor in the legitimate drama in 
Dublin, Manchester, Liverpool, and Edinburgh. His first appear- 
ance on the London stage took place Monday, April 21, 1856, at 
Sadler's Wells Theatre, in the part of Belphegor, in the drama of 
that title. The part had already been made famiUar to one class 
of playgoers by the acting of Lemaitre, and to another by a long 
run of the play at the Adelphi. The Athenceum (April 26, 1856), 
noticing the performance, remarked as follows : — " Mr. Dillon has a 
good stage figure, of the middle height, with an expressive coun- 
tenance and a flexible voice, which enables him to deliver familiar 
dialogues without effort. He is no declaimer, but speaks naturally, 
and even in phrases of the highest passion is never noisy, sub- 
stituting intention for stormy vehemence. In these particulars he 
presents new points, and differs from nearly all the English artists 
who have obtained reputation. His power over the feelings is 
extraordinary. In the first act of the present play he gradually 
melted his audience from scene to scene, and long ere the fall of 
the curtain every eye was moist with sympathetic tears." 

Said jthe Times (April 22nd of the same year) : " Mr. Charles 
Dillon gives such evidence of the true material, and the impression 


he made was of such a genuine kind, that even if his temperament 
is not remarkably sanguine, he has a right to expect that his d^but 
■ — albeit taking place in remote Pentonville — will become a topic of 
conversation amongst aU whose discourse turns upon the merits of 
plays and players." 

In September of the same year Mr. Dillon entered upon the 
management of the Lyceum Theatre, and " opened " with a revival 
of ' Belphegor ' (in which he played the title ro/e), and a burlesque 
by William Brough, entitled 'Perdita; or, the Royal Milkmaid,' in 
which Mr. J. L. Toole played Autolyeus, Miss Marie Wilton Per- 
dita, Miss Woolgar Florizel, and Mr. William Brough Polyxenes. 
Concerning the first-named performance the following criticism 
appeared : — " Mr. Dillon's Belphegor is entitled to the praise of 
distinct originaKty ; indeed, it is so strongly impressed by the 
actor's individuality that we cannot fancy him playing any other 
part in any other manner. It is obvious, however, that he has 
no very accurate conception of the character, from the fact that 
he presents it throughout in a uniform reading, instead of em- 
phatically marking the different phases through which it passes. 
There are great moral and physical changes wrought in Belphegor; 
but they demand a versatility of powers beyond the reach of Mr. 
Dillon. His showman of the first act, and his chevalier of the 
last, are distinguishable from each other by little more than their 
costume. We lack in the one the abandon, freedom, and reckless 
animal spirits which the author bestowed upon him to make his 
subsequent wretchedness the more striking ; and, in the other, the 
finesse and by-play which constitute the dramatic interest of the 
situation. It is in the middle distance of the picture, so to speak, 
that Mr. Dillon is most successful. The whole of that scene where 
Belphegor is deserted by his wife was finely acted. Profoundly 
touching, without the least violence or excess, it approached more 
closely to a reality than any passage of domestic pathos "we re- 
member on the stage since the days of Miss Kelly, with whom 
what may be called the literal school of acting went out. Excel- 
lent, too, and no less meritorious in parts, although not so true or 
effective as a whole, was the haggard exhibition of the conjurer 
and his son in the gardens, before the fine gentlemen of the ancien 
regime. Mr. DiUon, greatly to his credit, never gives way to the 
melodramatic temptations of a part abounding in sudden transi- 
tions of moods and passions. He preserves, in the depths of his 
wrongs and sorrows, a gentleness as rare as it is piteous. This is 
a conspicuous virtue ; but virtues have their extremes, which are 
jis much to be avoided as their opposites. The performance 
requires relief ; it is too quiet, in spite of many isolated passages 
of considerable merit, and it leaves a final impression of want of 
power." {Saturday Review, September 27, 1856.) 

On Thursday, October 16, 1856, at the same theatre, Mr. Charles 
Dillon sustained the character oi D'Artagnan, first performance of 
' The Three Musketeers,' by Messrs. C. Dillon, C. Rice, and the 
late Aug. Harris, adapted from M. Dumas' novel ' Les Trois Mous- 
quetaires.' The production of the piece proved of the highest 


importance to the histrionic reputation of Mr. Dillon. His great 
success in Bilphegor, which had renlained in the Lyceum bills ever 
since the opening of the theatre, had so completely identified him 
in the .public mind with the figure of tlie starving Paillasse, that 
his impersonation of a new part was anticipated with more than 
ordinary curiosity. " He had, indeed, played other characters 
at Sadler's Wells ; but then the Pentonville establishment, during 
Mr. Phelps's season of repose, was not a focus of general attraction, 
and the West^end connoisseurs, satisfied with the merits of the pro- 
vincial debutant in his first part, did not care to pursue their inves- 
tigations by repeated journeys in an unusual directioh. To these 
Mr. Dillon remained Paillasse, and nothing but Paillasse, till the 
middle ot the present week ; and it was not surprising that, amid 
the theatrical gossip of the day, the question shoiild have been 
asked whether the gentleman who is celebrated in Parliament as 
' One-speech Hamilton ' had not found a histrionic ectype in a one- 
part actor. The character of Paillasse is, after all, of the most 
exceptional kind, and it is quite possible that an artist, by dint of 
hard study, miglit master its peculiarities without decided qualifi- 
cations for what is called 'general business.' Now, by his imper- 
sonation of the young Gascon, D^Artagnah, in ' The King's Mus- 
keteers,' Mr. Charles Dillon has utterly dispelled all fears that his 
talent would prove singuliir, in the least favourable sense of the 
word. There could not be in the range of humanity two personages 
more thoroughly the antipodes of each other than the mountebank 
and the Gascon. The existence of the former is passed between 
anxious care and unmitigated misery; the latter is one of those 
happily constituted individuals whom no misery could reach, and 
who, whether he had to ascend the steps of a throne or a scaffold, 
would ever preserve his joyous aspect. This state of chronic 
hilarity has been most felicitously apprehended by Mr. Dillon. 
His D'Artagnan has about it the true spirit of a sanguine adven- 
turer, to whom every windfall is a source of bliss, and no obstacle 
is a cause of terror. The employment of his sword ' Bobadillo,' 
which was left him by his father with the strict injunction that he 
is never to refuse a challenge, seems the main end of his existence,, 
but yet there is nothing cruel or bloodthirsty in his temperament. 
If he can fight three duels in a day he is delighted at the oppor- 
tunity, not because he harbours ill-will against any three of his 
fellow-creatures, Isut because he is gratifying a natural disposition 
to pugnacity, and, moreover, showing a pious regard to his father's 
memory. True, he may take life in the course of the several en- 
. counters, but with him life itself is but a trifle, to be staked on 
every occasion when fortune commands a game of chance, and 
death is a slight balk the prospect of which need not in the least 
disturb the equanimity of a sensible man. To the modern Lon- 
doner, who regards length of days as all-important, and to whom a 
railwa,y accident by wliich half-a-dozen lives are lost appears a most 
appalling (occurrence, such a totally careless personage as a French 
soldier of the seventeenth century, who is quite as ready to Shed 
bis blood for ' fun ' as for duty, would almost seem a being beyond 


the limits of moral possibility. . . . That jovial fellows, whose 
entire attributes might be summed up in the compound adjective 
'devil-may-care,' were plentiful in Paris during the reigns of 
Richelieu and Mazarin, and that at that period duelling was re- 
garded as a pleasant sport, are historical facts, proved beyond the 
reach of a doubt. It is the great merit of Mr. Dillon that he makes 
such a character appear probable now, and thoroughly amiable in 
the bargain. He becomes the child of a certain period with such 
thorough efficiency that the period itself is revived, and we can think 
and feel according to the moral code of the seventeenth century. 
Nay, he is even a somewhat childish child ; there is an innocence 
in his very pugnacity, and one may compare him to a generous, 
good-humoured schoolboy, who is at the same time the 'best 
fighter' of his class, and who, totally destitute of anything Uke an 
' itching palm,' makes up for the deficiency by the indubitable pos- 
session of an itching fist." {Times, October i8, 1856.) 

On Monday, November lo of the same year, at the Lyceum, he 
played Claude Melnotte in ' The Lady of Lyons,' and so entirely 
successful was he in developing all the sensibility of which the 
character of Melnotte is susceptible, that he was frequently called 
before the curtain during the progress of the play to receive the 
plaudits of the audience. On Monday, December i, 1856, in a 
revival of ' Othello ' at the Lyceum Theatre, Mr. DiUon played the 
title rdle. " From the actor to the mise en seine all the usual con- 
ventionalities of the stage were set at naught {AthencEum, December 
6, 1856). The Othello was natural, not all declamatory, sometimes 
familiar, always domestic, and rather intensely passionate than 
vehemently demonstrative. The great scenes between the Moor 
and his tempter were for the most part gone through in a sitting 
position; and constant attention was paid to every indication in 
the text of a deeper sentiment than appears on the surface of 3 
passionate dialogue. All was surprisingly fresh and original, and 
much that was like a new revelation of the Shakespeare mind. . . . 
The last scene of the tragedy was a triumphant display of originality, 
passion, feeling, and beauty of style on the part of the actor. Some- 
times his pathos in its intensity became sublime." 

The Times (December 2, 1856), in a carefully written criticism 
of Mr. Dillon's Othello, said : " The declamatory part of histrionic 
art seems to accord least of all with Mr. Dillon's idiosyncrasy, and 
therefore, though the address to the Senate was carefully delivered, 
it still seemed that the artist was outside the character he assumed. 
As the famous dialogues with I ago progressed it became evident 
that he warmed into the business of the scene. The blank misery 
with which he listened to the tempter's description of jealousy, and 
the manly effort of self-possession with which he gathered himself 
together were well conceived. The air of painful attendance with 
which he listened to unpleasant tidings was remarkable for its 
truthfulness. However, it was only by degrees that his particular 
interpretation of the entire part was made apparent. A tender 
affection for Desdemona was the one feeling which he intended 
to be predominant over all the rest, and the manifestation of this 


feeling was constantly to be found, even when it might be least 
expected. His grief was always greater than his rage ; if he could 
find a pretext for returning tenderness he seized it with avidity, and 
we might fancy that Othello wa5 ever anxious to look upon the 
revelations of lago as part of a hideous dream, from which with a 
mental effort he could awaken. The great ranting passage, ' Whip 
me, you devils,' &c., was given with a power which could scarcely 
be surpassed; but its chief effect was produced by the transition to 
grief at the end, the sudden change from noisy despair to deep, 
unutterable anguish. The concluding portion of the last act was 
perfect in its minutest details, the general conception being that 
the Moor, on the revelation of the deceits practised upon him, had 
ceased to take interest in external events, and was absorbed in the 
mental preparation for his own death. In the concluding speech 
every line had its due value ; and to those of the audience who had 
the earlier part of the play in their remembrance, most striking 
was the contrast between the declamation of the actor, who had 
not identified himself with the character, and the elocution of the 
same actor when the feelings of Othello had become his own. 
From the beginning to the end of the tragedy Mr. Dillon made, as 
it were, a constant encroachment on the sympathies of his audience, 
and when the curtain had fallen his sway had become universally 
acknowledged. It was impossible to misinterpret the hearty cheers 
that saluted the actor as he crossed the stage in response to general 
acclamations." " 

At the Lyceum, on Monday, February 16, 1857, Mr. Dillon 
performed the part of Lord Revesdale, first performance of West- 
land Marston's drama 'A Life's Ransom'; and on Friday, the 
13th of March following, Virginius, in the tragedy of that title. 
On Friday, the 27th of the same month, he performed Hamlet for 
the first time in London. " From what had been seen of Mr. 
Dillon's previous characters, it was not difficult to foresee which 
side of Hamlet's character he would make prominent — or foresee 
that the emotional rather than the intellectual element in the 
Danish prince would be uppermost in his thoughts {Times, March 23, 
1857). To take up a speech as a thing external, and to display 
ingenuity by carrying it through infinite varieties of emphasis and 
expression, would obviously be foreign to his theory of histrionic art. 
You do not listen to him to study his ' readings,' but to discover 
how soon his emotions will be identified with those of the character 
-^and we may truly say that the greater the warmth required, the 
more he ' warms up.' Thus in ' Hamlet,' although the first two 
acts are carefiilly and conscientiously performed, it is not till the 
third act that Mr. Dillon's peculiarity is revealed. The tenderness 
with which he surveys Ophelia in the midst of his ravings about 
the 'nunnery,' and to which he gives extreme expression by 
dropping on his knee and fondly kissing her hand, is natural from 
its spontaneous appearance ; and. his welcome to Horatio, on the 
entrance of the latter, has a frankness about it that is singularly 
touching. Nothing of great moment occurs at this meeting of the 
two friends, but the notion is conveyed that a kindly heart, long 


placed amid uncongenial spirits, has at length found a sympathetic - 
being on which it can repose. The watching of the King during 
the play scene is carried out, through all its details, with immense 
earnestness, and the burst of triumph in which it results is most 
powerful. In the ' closet scene ' a new arrangement is made, which 
leads to a new histrionic effect. The ghost does not cross the front 
of the stage ; but the lower vpart of the side and back scene becomes 
transparent, and the spectre is seen passing from behind the picture 
of the deceased King to the point where it vanishes. Its steps are 
followed by Hamlet, who thus leads his mother round the apart- 
ment in a state of rapt attention ; and the explosion with which 
he utters the words ' Out at the portal,' and sinks into a chair 
exhausted with the mental strain, is terrific. Throughout the whole 
of this act the actor has more and more entered into the spirit of 
the scene, and here is his climax. He has gained his audience, 
and now he may fearlessly pursue his victory through the two 
remaining acts." 

Mr. Dillon's first season at the Lyceum Theatre, -which closed 
April 2, 1857, proved a profitable one. On the last night of the 
season he played Richelieu. During the same month he appeared 
at Drury Lane in that character, and in the parts of Othello and 
Hamlet. The following year (1858) he again rented the Lyceum 
Theatre, and on January 20th produced there a pleasant drama of 
Leigh Hunt's entitled 'Love's Amazements,' in which Mr. Dillon 
played the part of Captain de la Rousse. Osi Monday, February i of 
the same year, in a play by Westland Marston, then first performed, 
entitled 'A Hard Struggle,' he sustained the character of i?^a^«a 
Holt.* The same month Mr. Dillon played the parts of Rover 
(' Wild Oats ') and Ia£o (' Othello '). On Thursday, February 25, 
1858, he performed, for the first time in London, Macbeth, Miss 
Helen Faucit sustaining the part of Lady Macbeth. In the 
opinion of the .4 //4««(j«OT (February 27, 1858), Mr. Dillon's Macbeth 
was the best performance he had yet given in London. It was 
remarkably fresh and original; it was moreover impulsive, and 
leant in no degree on theatrical conventions. " In the first place, 
the actor presents the brave Scotchman of the poet, whose nobility 
of disposition is the theme of general admiration in the earlier 
scenes ; and not the hesitating coward of the boards, who trembles 
at every step of his progress. Fate urges on the valiant Thane to 

* Through the courtesy of a correspondent I have been shown a letter 
in which, writing to the author of the play, Dr. Westland Marston, the 
late Charles Dickens says: — "I have witnessed twice the representation 
of your charming little piece ' The Hard Struggle,' , . . You ask me what 
I think of Charles Dillon as an actor. His representation of Reuben Holt 
was exactly what acting should be — Nature itself. I can't call to mind 
any living actor who could have played it so well. So closely did I watch 
him on both xicca^ions that I could only discover one slight defect : on 
receipt of the letter from his love announcing the arrival of Lilian, in his 
emotion he crumpled the paper in his hand. I think it would have been 
more consistent had he folded the letter carefully and placed it in his 
breast."— Ed. 


commit for a political motive a crime at which his moral nature 
revolts. The necessity to which he is subject makes him writhe 
with remorse, and reluctant to act. The crime once committed, 
the first rebound is fearful ; but that once surmounted, his sole care 
is for the security of himself and his power; and to this he sacrifices 
victim after victim, till' the land groans with his. tyranny. Through- 
out a superstitious frame of mind colours his conduct, and tinges 
his thoughts with the hues of imaginative sentiment. Thus re- 
garded, the.character abounds in variety; and phases of emotion." 

On Monday, March 22, 1858, Mr. Dillon performed, for the first 
time before the London public, Louis XI:, on the occasion of a 
complimentary benefit given by the company to himself and Mrs. 
Charles Dillon. '^ All that the part required he- gave with the carcj 
the elaboration, and thorough appreciation of the spirit of the 
scene which distinguish a 'true artist; and his task was a really 
fine picture of sustained acting. Mr. Dillon, who is eminently a 
natural performer, has shown by this embodiment that he can aljly 
render the purely artificial drama." {Daily News, March 23, 1858.) 
From 1858 to i860 Mr. Dillon was fulfilling various engagements 
as a " star "actor, in the provinces and elsewhere. He reappeared 
in London, Monday, February &, i860, at Drury Lane Theatre, as 
William Tell, in the tragedy of that title. 

After an absence of several years, during which Mr. Dillon had 
made the tour of the world, on Monday, February 17, 1868, at 
Sadler's Wells Theatre, he presented the character of King' Lear. 
The part was one in which he had not acted in London previous to 
his departure for Australia, and therefore the performance was quite 
new to playgoers. It was considered successful. At the same 
theatre during the sanie year he. played a round of Shakespearian 
characters and appeared also as Richelieu. In the spring of 1869 
Mr. Dillon fulfilled an engagement at Drury Lane, playing his usual 
parts in the higher drama. In March of the same year, in 'The 
Man of Two Lives,' the second play adapted for the English stage 
from Victor Hugo's ' Les Miserables,' he sustained the part of Jean 
Valjean. On Saturday, August 16, 1873, in a revivalof ' Manfred ' 
at the Princess's Theatre, he appeared in the character rdle. Since 
the above date Mr. Dillon has played but seldom in London. On 
Saturday, September 28, 1878, however, he reappeared at Drury 
Lane Theatre as Lepntes in a revival of ' A Winter's Tale.' This 
performance was scarcely so successful as had been anticipated. 
Since the last-mentioned date Mr. Dillon has been acting in the 

DOLARO, SELINA (a nom de thd&tre). Born in London, and 
made her first appearance on any stage, January 20, 1870, at 
the Lyceum Theatre, London, as the Spanish Princess in ' Chil- 
peric' Subsequently at various theatres in London Madame 
Dolaro has appeared as Gindvieve ('G^n^vi^ve de Brabant'), 
Clairette (' Madame Angot '), Pdrichole (' La P^richole '), Carmen 
(in the opera of that name), in the English versions of each. On 
Wednesday, May 14, 1879, she entered, for a brief period, on the 


management of the Folly Theatre, and produced there that even- 
ing an English version by Mr. Henry Hersee of Maillart's 'Les 
Dragons de Villars.' In July 1879 at the same theatre she appeared 
as the heroine in ' The First Night,' Mr. G. W. Anson sustaining 
the part of AchiUe Talma Dufard, both actors being seen to great 
advantage in this play, a burlesque scene between the two being 
considered quite excellent. 

Born in London 1840. Daughter of the late Mr. and Mrs. Charles 
Green, and grand-daughter of the late Samuel Drummond, A.R.A. 
Was originally educated as an artist, and went with her mother to 
Australia with the intention of practising art as a profession. 
Having taken a special interest in stage matters while in that 
country, she was offered an opportunity, of appearing at the Theatre 
Royal, Melbourne, and first acted there an important character, — 
Desdemona, under the auspices of G. V. Brooke. Miss Drummond 
returned to England in 1874, and made her appearance in London, 
November of tjfie same year, at the Standard Theatre in the part of 
Hermione ('A Winter's Tale") with gratifying success. In 1876 
(having fulfilled engagements in the interval) she appeared at the 
Globe Theatre as Hortense in the play of ' Jo,' and " obtained de- 
served recognition for a fine piece of acting." During 1878 she 
appeared at the Standard Theatre as Lady Isabel in ' East 
Lynne ' ; and played also at the Royal Park, Princess's, and 
Adelphi Theatres. 

DUPLANY, CLAUDE MARIUS. See Marius, Claude, 

DYAS, ADA, daughter of the late Mrs. Edward Dyas, who was 
an actress of some ability attached to the London theatres. Miss 
Ada Dyas made her dSbut on the metropohtan stage in 1 861, as 
Prince John of Lancaster, in Shakespeare's ' Henry the Fourth.' 
Subsequently she earned popularity as a member of " Miss Marie 
Wilton's London Comedy Company," with which company she 
acted in the provinces in Mr. T. W. Robertson's play of ' Caste,' 
as Esther Eccles. In 1 871 she was in the original cast of Wilkie 
Collins's ' Woman in White,' first performed at the Olympic Theatre 
on October 9 of that year. She sustained in this play the dual parts 
of Laura Fairlie and Anne Catherick, and " accomplished a very 
difficult task with much propriety and truthful feehng." In 1873 
she was performing at the Vaudeville Theatre ; but subsequendy 
went to the United States of America, where she has since attained 
considerable popularity as an actress. 


EDGAR, EDWARD FISHER, made his first appearance on 
the stage at the Victoria Theatre as a child, in ' The Stranger ' ; 
and he continued to play children's parts till old enough to take 
other characters. Then for a time he was with Mr. E. D. Davis, 
of Barnstaple, and played in different theatres in that vicinity. After 
a very extensive experience of some years in the provinces he 
returned to London in 1852, and appeared at the Olympic Theatre 
as Andrd in ' Lucille ; or, the Story of a Heart,' under the elder 
Mr. Farren. He has been the lessee of the Marylebone Theatre, 
and also of the Surrey Theatre in conjunction with Mr. Shepherd. 
He played an original part in numerous pieces at the Surrey, 
Princess's, Lyceum, Globe, Adelphi, Royalty, Olympic, and other 
theatres ; among others may be mentioned ' Nobody's Child,' by 
Watts Phillips ; ' True to the Core,' by Slous ; ' The Rapparee,' by 
Boucicault ; ' Eugene Aram,' by Wells ; ' Philomel,' by Craven ; 
' Family Honour,' by Frank Marshall, &c., &c. He has more 
recently been connected with the Imperial Theatre; and in 1879, 
during the long run there of ' She Stoops to Conquer,' played the 
part aiHastings. In September 1879 he appeared at the Imperial 
Theatre as Aimwell in a revival of ' The Beaux' Stratagem.' 

EDWARDS, JAMES. See Carter-Edwards, James. 

EGAN, ROSE (Mrs. BiSHOP), born in Birmingham; daughter 
of Mr. F. B. Egan, for sixteen years manager of the old Queen's 
Theatre, Manchester. Having already had some experience on 
the provincial stage, Miss Egan made her dibut in London at the 
Court Theatre, in June 1873, in the part of Florence in the play of 
' About Town.' The following " original " parts were performed by 
her during her engagement (1873-5) ^^ the same theatre, viz. Mrs. 
Carter in Bronson Howard's comedy ' Brighton ' ; Mrs. Bun- 
thunder in W. S. Gilbert's comedy 'The Wedding March ';Z<^<^ 
Isabelle in Herman Merivale's play 'The White Pilgrim.' Miss 
Egan afterwards played her " original " part in ' Brighton ' at the 
Standard, Haymarket, Criterion, and St. James's Theatres. In 
1877, during the summer season at the Aquarium (now the Imperial) 
Theatre, Westminster, she appeared as Mrs. Singleton Bliss in 
'Cyril's Success' axiA. Lamorce in 'The Inconstant'; and on April 8, 
1879, commenced an engagement at the Criterion Theatre to play 
Lady Campion in Bronson Howard's comedy of ' Truth.' 

ELDRED, JOSEPH, was born in London. In i860 he acted 
is agent for the Rev. J. M. Bellew, the elocutionist, on a reading 
tour through the provinces. About five years later he was per- 
forming as a low comedian in Dublin. Afterwards he went 
to Liverpool, and soon made an impression there as actor and 


manager. He made his first appearance on the London stage as 
Major Regulus Rattan in ' Ici on parle Frangais,' June IJ, 1868, 
at the Olympic Theatre. When Mr. W. H. Liston opened the 
Olympic Theatre in October 1869 with- 'Little EmTy,' Mr. Eldred 
appeared as Mkawber: Among the many parts he has acted, 
this is one of' his best. He has played starring tours throughout 
the provinces, notably with the late George Belmore in ' The Flying 
Scud,' and has everywhere made a reputation as an enterprising 

EMERY, SAMUEL ANDERSON, son of the late John Emery, 
a well-known comedian on- the London stage in the second- decade 
of the present century, was born in 1814. Mr. Samuel Enierymade 
his first appearance at a- London theatre on the I7tb of Aprils, 1843, 
in the part of Giles, in a piece entitled ' Miller's Maid,' and first 
attained popularity as an actor during the Keeley regime oi the 
Lyceum Theatre, 1844-7. H« was the "original" of the following 
characters, viz. Jonas Chuzzlewit, in Stirling's adaptation of Charles 
Dickens's novel ' Martin- Chuzzlewit '; WiU Fern, in an adaptation 
of the same author's Christmas story of ' The Chimes ''; and John 
Peerybingle, in a dramatic version of the same author's story 
' The Cricket on the Hearth.' These play.s were first produced at 
the Lyceum Theatre, under the superintendence of Mr. and Mrs. 
Keeley, within the period above mentioned. Mr. Emery "created" 
the part of Antony Latour, in Shirley Brooks's drama of 'The 
Creole,' first performed at the sam& theatre in April 1847. This 
was one of the most striking impersonations of Mr. Emery's earlier - 
professional career. 

Having joined the company of the Olympic Theatre in the first 
year of Mr. A. Wigan's management, Mr. Emery was in the 
original cast of two of the most popular dramas produced there 
under Mr. A. Wigan's supervision, viz. ' Plot and Passion,' written 
by Mr. Tom Taylor, in conjunction with Mr. John Lang, first 
performed Monday, October 17, 1853; and 'Still Waters Run 
Deep,' by the first-named author, first performed Monday, May 14, 
1855. Mr. Emery was also in the original cast of certain of Mr. 
Boucicault's plays on the occasion of their first perfomicince in this 
country, of which, perhaps, 'The Octproon,'' ' Arrah-na-Pogue,' 
and ' The Long Strike,' have furnished the best examples of 
Mr. Emery's abilities and skill as an actor of what are known as 
" character " parts. His latest most important impersonations 
have been Dan'l Peggotty, in Andrew Halliday's version of Charles 
Dickens's story ' David Copperfield,' dramatized under the title of 
' Little Em'ly ' ; and Cap'n Cuttle, in Andrew Halliday's play 
' Heart's Delight,' founded on Mr. Dickens's novel of ' Dombey 
and Son.' The first-named play was first performed in London at 
the Olympic Theatre, Saturday, October 9, 1869 ; the second, Jt 
the Globe Theatre in December 1873. " The Captain Cuttle of Mr. 
S. Emery," said the Daily Telegraph (December 19, 1873), "is 
one of those admirable performances which so delight the playgoer 
and do such credit to the English stage. There is no need for the 


orchestra to strike up a merry nautical tune in order to add zest to 
the welcome of Captain Cuttle. When Mr. Emery comes rolling 
on to the stage, made up to the very life, after the pictures by 
' Phiz,' with the rubicund face- and the bald pate, the coarse canvas 
open shirt, and the hook instead of a right, hand, the roar that 
greets the old favourite shows that half the actor's work is over. 
He looks the part, and there is no prejudice on that account. Few, 
however, could have hoped for so thorough and masterly a specimen 
of acting. It is not an actor walking upon the stage cleverly made 
up and assuming a nautical or seafaring air; it is, the very man 
before us. He fills the stage with his bluff boisterous, bearing, and 
his hearty cheeriness is refreshing to all about him. His spirits are 
so invigorating that our eyes, a little moist after some affecting 
scene, are instantly dried, and his rough honesty is so apparent 
that it serves as a pleasant reaction after scenes of misery and 
villany. And then, when the actor has made our sides ache with 
laughing, with consummate skill he rushes off to the opposite ex- 
treme, and makes the success of the evening with that pathetic 
lament over drowned ' Wal'r,' which is a prose poem in the text of 
Dickens, and in the hands of Mr. Emery a masterpiece of natural 
and pathetic expression. ' Gone down with Wal'r,' sobs poor old 
Cuttle, as the refrain to his wail over the lost boy, and the dirge 
was a struggle between joviality, and grief which few who heard it 
are likely to forget. Mark how natural and gradual is this break- 
down of Captain Cuttle. Another actor, with a trick of voice or a 
gurgle in the throat, would assume the requisite pathos. But true 
pathos is far more than trick of voice. You see the grief coming 
upon the old fellow in spite of himself He is laughing to the last 
even in his tears ; but all at once the grief gets the mastery, and 
the half-gulp, half-hysterical sob of the artist commands the atten- 
tion even of the dullest audience. Equally admirable was Mr, 
Emery's acting in the scene of the return of Walter Gay. The art 
here is so complete and subtle that not a look, movement, or ges- 
ture, is lost upon the audience. They tell us of the Captain Cuttle 
of Burton, an American actor, and speak of it in terms of un- 
qualified praise. It must have been a masterly performance indeed 
to rival that of Mr. Emery, a genuine study and a rare contribution 
to dramatic art." It has loeen remarked of Mr. Emery that " he is 
full of genuine humour, and knows full well how and when to give 
it due expression. His delineations are most powerful whenever 
deep feeling and pathos are to be exhibited. He can display 
artistically, because naturally, the strongest of human passions, 
and he is equally at home in whatever is genial, and quiet, and 
humorous." He last appeared on the London stage at the Globe 
Theatre, on July 20, 1878, in the part of Cap''n Cuttle, in the play 
already alluded to. 

ERNSTONE, HELENA CECILE {a.nomde tMdtre), da.ughtei 
of Adam Joseph Schott, of Mayence-on-the-Rhine, of the well- 
known publishing firm of that name. Miss Ernstone received her 
early education, which was mainly musical, at Bayreuth, and in 1863, 



when but a mere girl, she was chosen to sing a contralto solo by 
Cherubini during the Mass celebrated in the cathedral of Frank- 
fort-on-the-Maine before the European Princes then assembled in 
Congress in that city. " Under the German system of forcing the 
upper register her voice gave way, and she was advised to turn her 
attention to dramatic art." In 1867 she made her first appear- 
ance on the English stage at Canterbury Theatre as Geraldine in 
'The Green Bushes.' Afterwards Miss Ernstone played a round 
of leading characters at various provincial theatres ; and in 1869 
made her ddbut in London at the Charing Cross Theatre as Ada 
Vavasour in Cheltnam's drama of ' Edendale.' Miss Ernstone's 
next engagement was at the Olympic Theatre, where, Saturday, 
October 9, 1869, she "created" the part of Martha, first perform- 
ance of Andrew Halliday's version of Charles Dickens's story of 
' David Copperfield,' dramatized under the title of ' Little Em'ly.' 
Her accurate conception of the character attracted the notice of the 
famous novelist, who personally expressed his appreciation of Miss 
Ernstone's excellent acting in the drama. After fulfilling engage- 
ments at the Globe and Lyceum Theatres and Opdra Comique, 
Miss Ernstone's health gave way, and she was advised to take a 
long sea-voyage. Acting on this suggestion, she sailed for Aus- 
tralia, and performed in Melbourne for a short time. Returning to 
England, she reappeared on the London stage in March 1873, ^t 
Astley's Theatre, in the title rdle in W. M. Akhurst's historical 
drama of ' Fair Rosamond ; or, the Days of the Plantagenets.' The 
same year, in May, at the Olympic Theatre, Miss Ernstone "created" 
the rdle of Grace Roseberry in Wilkie CoUins's drama of ' The New 
Magdalen,' playing the part in a telling and straightforward manner, 
and aiding in no slight degree to make the piece a success. Her 
next " original " rdle was that of Henriette in ' The Two Orphans,' 
in which she was also successful. In May 1879, at the Olympic 
Theatre, Miss Ernstone played the part of the heroine {Marguerite 
Duval) in the drama of ' The Mother ' with considerable force, 
earnestness, and pathos. 

*EVERARD, H., made her first appearance on the stage at 
the Theatre Royal, Exeter, and for years has performed in bur- 
lesque, pantomime, comedy, and light opera characters in London 
and the provinces. In 1869 she was playing at the Royal Alfred 
Theatre. She subsequently appeared at the Queen's and the 
Royalty Theatres in many pieces, and later at the St. James's, 
Princess's, and other theatres. She was the original Little Butter- 
cup in 'H.M.S. Pinafore' at the Opdra Comique, where that 
popular light opera was first represented. 


February 6, 1829. He made his first appearance on any stage at 
the Ryde (Isle of Wight) Theatre, July 12, 1852, in the part of 
Baron Steinfort m ' The Stranger.' Subsequently he joined the 
company of the Southampton Theatre, where he acted for six 
seasons ; and on October ist, 1859, accepted an engagement at 


the Theatre Royal, Manchester, with which Mr. Everill was con- 
nected for a period of eleven years. During this protracted term 
he appeared in many important characters, among which the 
following deserve mention for the general excellence of their 
presentation, viz. Falstaff (' Merry Wives of Windsor ') ; Launce 
(' Two Gentlemen of Verona ') ; Dogberry (' Much Ado About 
Nothing'); Gratiano ('Merchant of Venice'); Polonius ('Ham- 
let ') ; Mercutio (' Romeo and Juliet ') ; Desmaret (' Plot and 
Passion'); Andrew Wylie ('A Bachelor of Arts'); Old Gold- 
thumb ('Time Works Wonders'). Mr. Everill made his dibut 
on the London stage, June 30, 1870, as Felix Trimmer in Tom 
Parry's farce ' A Cure for Love.' Of important original parts 
played by Mr. Everill during his connection with the Haymarket 
Theatre, continuing to 1879, Chrysal, in W. S. Gilbert's "fairy 
comedy" 'The Palace of Truth,' affords a satisfactory example. 
The play was first performed at the Haymarket, Saturday, Novem- 
ber 19, 1870. " He acted excellently, indeed he was the only one 
who, consistently, when in the ' Palace of Truth,' spoke the truth 
as if he did not understand what he was saying. Many of the 
others made their action identical with their words." (Observer, 
November 20, 1870.) 

K 2 


FAIRS, JOHN. See Hare, John. 

FARREN, ELLEN (Mrs. R. Soutar). Bom in Lancashire. 
Daughter of Henry Farren, and grand-daughter of WiUiam Farren 
the elder. She made her first appearance on the London stage 
at the Victoria Theatre, under Mr. Cave's management, March 
28, 1864, in the part of Ninetta in a drama entitled ' The Woman 
in Red.' Subsequently, in the same year, Miss Farren joined 
the company of the Olympic Theatre, under Mr. Horace Wigan's 
management. Among pieces in which she there appeared during 
her engagement, 1864-6, the following are entitled to notice, viz. 
'The Hidden Hand' (Tom Taylor); 'My Wife's Bonnet' (J. M. 
Morton) ; a burlesque entitled ' Prince Camaralzaman ; or, the 
Fairies' Revenge '; ' Faust and Marguerite,' also a burlesque ; and 
Shakespeare's 'Twelfth Night,' in which Miss Farren undertook 
the part of the Clown. On the opening of the Gaiety Theatre, 
under Mr. John HoUingshead's management, Monday, December 
21, 1868, Miss Farren appeared in ' On the Cards.' 

During her long connection with this theatre, continuing, it may 
be mentioned, to the present time (October 1879), Miss Farren has 
played a principal part in the following, among other plays, viz. 
' The Man of Quality ' {Miss Hoyden) ; ' Dot,' Mr. Boucicault's ver- 
sion of 'The Cricket on the Hearth' (Ti/fy S/owioy) ; ' Love for 
Love ' {Miss Prue) ; ' Thespis ; or, the Gods grown Old,' by W. S. 
Gilbert {Mercury) ; ' Shilly-Shally,' by Anthony TroUope and 
Charles Reade {Po^iy Neefit) ; ' The Battle of Life,' a dramatic 
version of Charles Dickens's Christmas story of that title, arranged 
by Charles Dickens, jun. {Clemency Newcombe) ; and in the 
various burlesques : — ' Robert the Devil,' ' Princess of Trebizonde,' 
' Little Faust,' &c. — produced under Mr. John HoUingshead's 
supervision within the period 1868-1879. 

FARREN, WILLIAM. Son of William Farren, sometimes 
called the elder Farren, a well-known comedian of the London 
stage, contemporary with Macready. Previous to his entering 
the dramatic profession Mr. Farren had appeared in London with 
some success as a singer at the so-called Ancient Concerts. At the 
outset of his stage career he performed at the Strand and Olympic 
Theatres under the name of Forrester, and as William Farren, jun. 
In January 1851 Mr. William Farren, jun., was a member of the 
company of the last-named theatre ; and on Monday, 13th of that 
month, he sustained the part of Frederick Plu?n, first performance 
of Morton's comedy ' All that Glitters is not Gold.' At the same 
theatre, in the following year, he was in the original cast of the two 
following plays, viz. ' The Bag of Gold ' (Hillyard), first performed 
at the Olympic Theatre, June 27, 1852; and 'Sarah Blangi' 
(adapted from the French, ' Sarah la Creole '), first performed there 
October 27, 1852. 


In 1853, on Mr. J. B. Buckstone assuming the management 
of the Haymarket Theatre, Mr. WilUam Farren became a member 
of his company. On Easter Monday of that year he made his 
dSut at the Haymarket as Captain Absolute, in ' The Rivals,' and 
for a great many years took part there in the various revivals of 
national comedy for which Mr. Buckstone's management was 
specially distinguished. Mr. Farren was also in the original cast 
of a number of plays produced at the Haymarket during the period 
of his engagement. Of these the principal were from the pen of 
Mr. Stirling Coyne and Mr. Tom Taylor, and included, among 
others, the following, viz. ' Elopements in High Life ' (Stirling 
Coyne), first performed at the Haymarket Theatre April 7, 1853 ; 
' The Hope of the Family ' (by the same author), first performed 
December of the same year ; ' The Old Chateau ' (by the same), 
first performed July 22, 1854 ; 'The Secret Agent' (by the same), 
first performed March 1855; 'The Man with Many Friends' (by 
the same), first performed September 3, 1855; 'The Unequal 
Match ' (Tom Taylor), first performed November 7, 1857; 'The 
Contested Election' (by the same author), June 29, 1859; 'The 
Overland Route' (by the same), February 23, i860; 'The Family 
Secret ' (Edmund Falconer), May 9, i860, &c., &c. 

At the Vaudeville Theatre, July 1872, in a revival of 'The School 
for Scandal,' Mr. Farren sustained the part of Sir Peter Teazle, 
and continued to appear in the character during the very successful 
run of the comedy. In 1875, on January 16, he played the part of 
Sir Geoffrey Champneys, first performance at the Vaudeville Theatre 
of H. J. Byron's comedy ' Our Boys,' and continued to play the 
same character at that theatre nightly without intermission until 
July 1878. In the autumn of the same year Mr. Farren presented 
the part of Grandfather Whitehead — in later years one of the elder 
Farren's most successful impersonations — in a revival of the comedy 
of that name (adapted from the French by Mark Lemon), at the 
Theatre of the Westminster Aquarium. At the same time and 
place he acted Young Wilding in a revival of ' The Liar ' (altered 
from Foote). On Saturday, April 19, 1879, first performance at 
the Vaudeville Theatre of H. J. Byron's comedy ' Our Girls,' Mr. 
Farren sustained the part of Josiah Clench. 

in London in 18 19, and is the daughter of Mrs. Faucit, and 
younger sister of Harriet Faucit (Mrs. Bland), both of whom were 
actresses of considerable repute in London in the third decade of 
the present century. The first performances which Miss Helen 
Faucit gave in public were at the Theatre Royal, Richmond 
(Surrey), in November 1833, in the characters of Juliet (' Romeo 
and Juliet'), Mariana ('The Wife'), and Mrs. Haller ('The 
Stranger '). These, however, were mere trial performances, due to 
the accident of Miss Helen Faucit having been overheard by the 
manager of the Richmond Theatre (a Mr. Willis Jones) while going 
through the balcony scene of ' Romeo and Juliet ' with her sister, 
Harriet, who was at that time an actress in the theatre. The 


manager was so much struck by what he heard that he urged that 
Miss Helen Faucit should make the experiment of acting, and she 
was permitted by her mother to do so. Her success upon the 
occasions above indicated was so marked that she was allowed to 
entertain the idea of entering the dramatic piofession. In the 
interval between these performances and her dibut on the stage 
proper, she received the ordinary instruction in the business of the 
stage from Mr. Percy Farren, brother of William Farren the elder. 
'Miss Helen Faucit made her first professional appearance on the 
stage at the Theatre Royal, Covent Garden, Tuesday, January 5, 
1836, in the character of Julia in ' The Hunchback.' The Morning 
Chronicle (January 6, 1836) noticed the event as follows : — "The 
only important incident was the appearance of Miss Helen Faucit 
in the character of the heroine ; and we speak quite within compass 
when we say that we never witnessed a better first performance, or 
one in which approbation was more constantly or enthusiastically 
expressed. . . . What we -especially liked in her acting is that she 
seems to have faith in herself, or, rather, not so much in herself, as 
in the truth and force of the passion she has to express. She relied 
upon it in all the principal situations and passages, and found her 
account in it." A three years' engagement was the outcome of 
this performance, and the same year she acted at Covent Garden 
Theatre the character of Belvidera in Otway's 'Venice Preserved,' 
and Margaret in an original play by Joanna Baillie, entitled ' The 
Separation,' a piece which proved unattractive. Mr. Charles Kemble 
was the leading actor at Covent Garden Theatre during 1836, and 
Miss Helen Faucit had the advantage of acting with him in the 
following, in addition to the two parts already noticed : she played 
Julia to his Clifford in ' The Hunchback ' ; Mrs. Haller to his 
Stranger ; Mrs. Beverley to his Beverley in ' The Gamester ' ; Lady 
Constance to his Falconbridge in ' King John'; Juliet to his Mer- 
cutio in ' Romeo and Juliet ' ; Katherine to his Petruchio in 
'Taming of the Shrew'; Beatrice to his Benedick in 'Much Ado 
About Nothing.' She also performed the counterparts to Mr. C. 
Kemble in the series of farewell performances at Covent Garden, 
ending December 3, 1836. 

In July 1837 Helen Faucit was engaged by Macready as 
a member of his company, on his assuming the direction of 
Covent Garden Theatre. In the various plays performed there for 
the first time, ' Brian Boroihme ' (Sheridan Knowles) ; ' Walter 
Tyrrel'; Talfourd's ' Athenian Captive,' &c., and in all of the Shake- 
spearian revivals arranged there under Macready's superintendence, 
and during his subsequent lesseeship of Drury Lane Theatre, Miss 
Helen Faucit bore a conspicuous part. These early impersonations 
included Constance, Imogen, Cordelia, Desdemona, Rosalind, and 
Hermione. She was the original representative of the heroines of 
the most important of the late Lord Lytton's plays. On January 4, 
1837, Miss Faucit sustained the part of the Duchess de Valliere, in 
his play of that title, an event which was not left unnoticed by 
Macready, as appears from the following entry in his diary : — 
"Acted Bragelone (La Valliere) well, with earnestness and fresh- 


ness ; some passages were deficient in polish. Being called for, I 
did not choose to go on without Miss Faucit, whom I led forward. 
The applause was fervent." — Macready^s Reminiscences (New and 
Revised Edition), p. 406. 

On May i, 1837, Helen Faucit acted the part of the Countess of 
Carlisle, in Robert Browning's play of ' Strafford,' at its first repre- 
sentation at Covent Garden ; and on February 15, 1838, the part of 
Pauline Deschapelles at the first performance of ' The Lady of 
Lyons,' Mr. Macready playing Claude Melnotte. " Macready acted 
with spirit, and so did Miss Faucit, though she occasionally over- 
did her part. . . . The piece was eminently successful." {Times, 
February 16, 1838.) On Thursday, March 7, 1839, ^.t the same 
theatre, she played at the first performance of ' Richelieu ' the 
character of Julie de Mortemarj Anderson and Miss Faucit as the 
lovers. Ward as Bouillon, Elton as the King, Phelps as a Capuchin 
Friar, and Howe as a page, being entitled to especial commen- 
dation. The acting throughout was good, records the Athenceum 
(March 9, 1839). 

Between the closing of Covent Garden Theatre in 1840, and the 
opening of Drury Lane by Mr. Macready, Miss Helen Faucit per- 
formed with him at the Haymarket. During this engagement, on 
Tuesday, December 8, 1840, 'Money' (by Lord Lytton) was first 
performed there, Miss Helen Faucit playing the character of Clara 
Douglas, Among other plays in which she acted, with Macready, 
a leading part on the occasion of their first performance, may be 
mentioned Sheridan Knowles's ' Woman's Wit ' ; the same author's 
play of ' The Secretary'; Lord Lytton's 'Sea Captain'; Talfourd's 
'Glencoe'; Serle's 'Master Clarke'; Westland Marston's 'Patrician's 
Daughter'; Byron's ' Marino Faliero'; Zouch Troughton's tragedy 
' Nina Sforza.' A prologue by the late Charles Dickens was made 
a leading feature of the performance of ' The Patrician's Daughter.' 
It was written with admirable point and feeling, and was spoken 
by Macready. Miss Helen Faucit performed the part oi Mabel in 
the play. In 1842 she accepted an engagement to be a member of 
Mr. Macready's company on his assuming the lesseeship of Drury 
Lane Theatre. On the 23rd of February of that year she acted 
Sophronia, first performance of ' Gisippus ' (Gerald Griffin) ; and in 
October of the same year Julia in ' The Rivals '; and later Angelica, 
in Congreve's 'Love for Love.' On February 11, 1843, she per- 
formed the part of Miss Tresham, first performance of Browning's 
'A Blot on the Scutcheon.' Two years later, viz. in October 1845, 
Helen Faucit sustained her original character of Pauline in a 
revival of 'The Lady of Lyons' at the Haymarket Theatre. The 
progress that she had made in the study and appreciation of the 
subtilties of the part, in the interval from the date of its first per- 
formance, may be estimated from the following criticism : " High as 
was our previous opinion of her (Miss Helen Faucit), our present 
estimate of her histrionic talent stands rather in contrast than com- 
parison with the past. . . . She has evidently been taught by self- 
dependence to think, to feel, to act for herself The character of 
Pauline Deschapelles is favourable for histrionic development. The 


\ heroine's pride is soon forgiven, and, for the rest, she is the sufferer, 
not the inflictor of wrong, and therefore the natural object of pity. 
Miss Faucit felt this, and assumed a passive quietness which, in 
its repose, was charming as well as artistic. In this respect it is 
altogether different from the Pauline to which in former times she 
accustomed us. That was rage and violence, a fault after all, 
perhaps, more attributable to the author than the actress. It is 
not so now. . . . Nor has Miss Faucit only learned to correct the 
author's mistakes in execution, but to supply his deficiencies of 
conception. To point out the beauties of her playing were to go 
through every scene of the drama, and to discriminate between 
what the author has not done, and what the actress supplies," 
(Athenaum, October 25, 1845.) When Mr. Macready retired from 
the management of Drury Lane Theatre there was no longer any 
theatre in London for the representation of the poetical drama. 
Miss Faucit then sought a field for the exercise of her powers 
in the provinces. In Dublin, Edinburgh, Glasgow, Manchester, 
Liverpool, and other important towns her reputation was soon 
established, and she drew large houses. In 1845 she appeared 
with Macready in Paris, and at the Salle Ventadour (the theatre at 
that time usually devoted to Italian Opera) played in a series of 
English performanc-es, which comprised ' Othello,' ' Hamlet,' ' Vir- 
ginius,' ' Macbeth,' ' Werner,' ' King Lear,' and ' Romeo and Juliet.' 
The effect these performances produced is still vividly remem- 
bered by elder students of the dramatic art, and by those who 
had the privilege of witnessing them in Paris. In a criticism in 
the Messager (January 5, 1845), written by M. Edouard Thierry, 
brother of the historian, he says : — " Miss Helen Faucit, pour qui 
la voit en passant, est une jeune femme de formes grfeles, mais non 
pas ddlicates, grande, et %. laquelle manque la fleur de la chair. 
Cependant, aussitot qu'elle marche, aussit6t qu'elle fait un geste, 
qu'elle prend une attitude, une grice charmante se r^vHe. Cette 
jeune femme, qui ne semblait pas avoir la seduction ndoessaire de 
I'actrice, a tout I'attrait, mais I'attrait irresistible de la femme. EUe 
est femme, en un mot ; sa grace particulifere ne saurait s'expliquer 
par aucune autre expression ; et quand elle parle, c'est encore la 
voix qui comdent k cette grace, c'est la douceur d'organe qui sied 
bien k cette harmonie de la d-marche, et de toute la personne, c'est 
le son caressant qui accompagne k souhait cette caresse, pour ainsi 
parler, du regard et des mani&es ddcentes. . . . Ajoutez une voix 
comme celle de Mile. Mars, et une mani^re de reciter qui rapproche 
surtout de notre manifere. En gdndral, les artistes anglais ont 
retenu I'emphase de la tragddie, telle que la jouait Lafont, telle 
qu'on la d^clamait k c6te de Talma. Macready lui-meme a con- 
serve par moments ce ddbit pompeux, qu'il accentue d'aiUeurs k la 
fagon anglaise, en appuyant sur toutes les syllabes. Miss Helen 
Faucit parle simplement, naturellement ; la phrase coule limpide- 
ment de ses Ifevres, et s'dchappe d'une seule Amission, comme dans 
notre recitation frangaise. 

" Aprfes ' Othello ' sont venus successivement ' Hamlet,' ' Vir- 
ginias,' ' Macbeth,' ' Romeo et Juliette.' A chacun de ces drames 


le succ^s de Miss Faucit s'est accru sans autres artifices. ... On 
n'avait imaging OphHia ni plus touchante, ni plus gracieuse. Notre 
parterre frangais est denieur^ surpris devant cette pantomime pleine 
de sens, pleine d'iddes, pleine de bont^, pleine de la tendresse, pleine 
de passion m6me, mais surtout pleine de mesure et pleine de 
modestie. Car c'est Ik une quality rare ; aussi je reviens sur cet 
dloge ; il y a dans Miss Faucit, et k un degrd Eminent, ce que 
j'appelle la modestie de I'artiste, ce ddsint^ressement prdcieux par 
lequel I'artiste pr^ffere I'art k lui-meme, et le succfes du drame k son 
propre succ&s. Quel que soit le r61e, quelle que soit la scfene. Miss 
Faucit prend sa place dans la perspective du tableau, dans I'ensemble 
de I'ceuvre, et cett-e place elle la garde jusqu'k la fin sans chercher k 
sortir de la demi-teinte ndcessaire ; disparaissant meme au besoin, 
dans I'ombre que le poete a mdnag^e." 

On January i-6, 1845, Miss Faucit acted in 'Hamlet' before 
King Louis Philippe and the French Court at the Tuileries, and 
was by the king presented with a costly bracelet. In March 1845, 
after playing Antigone in Dublin, she was presented with the 
following address by members of the Royal Irish Academy and the 
Society of Ancient Art : — 

" Madam, — We beg to give expression to the unalloyed and 
sustained satisfaction which we have derived from your late per- 
formance at our national theatre. 

" We have each and all endeavoured to promote the cultivation 
of ancient Art in this our city ; and w€ feel that your noble repre- 
sentation of Antigone has greatly advanced this important object, 
by creating a love and admiration of the beauty and grandeur of 
Aiicient Greece. 

" With the writings of the Grecian dramatists it is true we have 
been long familiar, but their power and their beauty have come 
down to us through books alone. ' Mute and motionless ' that 
Drama has heretofore stood before us. You, Madam, have given 
it voice, gesture, and life ; you hav« realized the genius, and 
embodied the inspiration of the authors and artists of Early Greece, 
and have thus encouraged and instructed the youth of Ireland in 
the study of their immortal books. 

" We offer the accompanying testimonial to the virtues and 
talents of one whose tastes, education, and surpassing powers have 
justly placed her at the summit of her profession. 

(Signed) " George Petrie, R.H.A., V.P.R.I.A., Chairman. 
John Anster, LL.D. ^ Secretaries " 
John Francis Waller ] ^^"^'^"^^■ 

Accompanying this testimonial was a splendid brooch of Irish 
gold, nearly four inches in diameter, designed by F. W. Burton, 
R.H.A. In the centre was a medallion exhibiting the figure of 
Antigone crouching in grief over the funeral urn of Polynices. The 
success of Miss Faucit's personation of the ' Antigone ' led to the 
production for her in Dublin of the ' Iphigenia in Aulis ' of Euripides. 
In 1845, on the 6th of November, Miss Faucit sustained the part of 
Rosalind in ' As You Like It ' at the Haymarket Theatre. - The 


Athenceum (November 8, 1845) thus commented on the perform- 
ance :— "On Thursday Miss Faucit performed the part of Rosalind 
in the play of ' As You Like It,' and charmed us by the simpUcity, 
the delicacy, the purity of the dehneation.' The character, hke the 
play itself, is ideal, and therefore requires a spiritualization in the 
performance, without which it is apt to become gross and sensual. 
It is not because she assumes mascuhne habiliments, and instructs 
her lover how to woo her, that Rosalind is to be taken as a hoyden. 
In the real world this would undoubtedly be the case, but not in 
the Forest of Arden, where, as Hazhtt justly says, ' nursed in 
solitude, under the shade of melancholy boughs, the imagination 
grows soft and dehcate, and the wit runs riot in idleness, like a 
spoiled child that is never sent to school.' This softness and 
delicacy we never saw more beautifully represented than in Miss 
Faucit's performance of Rosalind — the caprice of the part never 
more ethereally embodied." 

In 1847 Miss Faucit played a short engagement at the Hay- 
market, where (October 4) she appeared as Florence Delmar, on the 
occasion of the first performance of Dr. Westland Marston's ' Heart 
of the World.', The play was saved from immediate condemnation 
by her acting. Mr. W. J. Fox, then critic of the Morning 
Chronicle (October 5, 1847), thus wrote of it : — " The play last 
night produced was no doubt so far successful. But wiU it ever 
be acted without Miss Helen Faucit to play the heroine? Mr. 
Westland Marston may have written the drama, but Helen Faucit 
made it ; Helen Faucit saved it. She was the life and soul of the 
stage." Three years later (November 5, 1850) Miss Faucit again 
introduced to public notice a play of Dr. Marston's, ' Philip of 
France and Marie de M^ranie ' — a play as thoroughly dramatic as 
the 'Heart of the World' was the reverse. The piece was produced 
at the Olympic Theatre and was a complete success. In a notice 
of the performance in the Literary Gazette (November 9, 1850), 
written by the late G. H. Lewes, he says : — " The engagement of 
Miss Helen Faucit is a rich boon to the public, for since the days 
of Siddons and O'Neill she is the most worthy exponent of the 
lofty poetical drama. She is the Rachel of the English stage. 
Her fine appreciation of .the poetry is equalled by her power of 
characterization and the exquisite melody of her voice. All the 
phases of passion find in Helen Faucit a faultless interpretess. 
She seizes the most delicate nuances with a feminine yet firm 
grasp ; and all the varying emotions of the scene pass before us as 
truthfully as life, but exalted by the fine intellectuality and exquisite 
sensibility of the truly inspired artist." The play was taken by 
Miss Helen Faucit into the provinces'and acted with great success. 
Marie de Mdranie has not since found any adequate representative, 
and this fine dramatic work seems to have disappeared for the 
present from the acted drama. In July 185 1 Miss Faucit appeared 
for twelve nights at the Olympic Theatre, and played Julia (' The 
Hunchback'), Rosalind, and Lady Macbeth. In 1852 she made 
her reappearance at Drury Lane Theatre. During the intervening 
period, on August 25, 185 1, she married Mr. Theodore Martin, an 


author of distinction, whose 'Bon Gaultier Ballads,' and more 
recent literary labours in connection with ' The Life of the Prince 
Consort,' are well known to the public. On Wednesday, January 28, 
1852, Miss Faucit once more stood on the London boards, in the 
character of Juliet. " Assuredly she acted it with so much care 
and elaboration," remarked the Athenceum (January 31, 1852), 
"and in a style so superior to all her former efforts in the character, 
as to challenge on this occasion more than ordinary critical atten- 
tion. One attribute of her performance it was impossible to over- 
look — the purpose which pervaded the whole, and which was felt 
as much in minute points and situations, as in the more prominent 
incidents and general scope of the action. It was in this particular 
that Miss Faucit chiefly excelled. She gathered a meaning from 
every phrase, and sometimes from a word. In the balcony scene 
she was greatest, both as regards the general impression, and the 
detail by means of which it was elaborated." 

Miss Faucit appeared at the Haymarket Theatre at intervals 
during the period 1853-5 'ii several of her more famous characters, 
Pauline, Rosalind, Sec. On 25th April, 1853, she performed there 
the character of Colombe, in Browning's ' Colombe's Birthday,' as 
to which the Morning Post (April 26, 1853) wrote : — " Miss Helen 
Faucit has returned to us in the full possession of those remarkable 
powers which long ago made her a cherished favourite of the 
London public. Never did she look or act better than on the 
present occasion; and the applause that greeted her, though fre- 
quent and cordial, was not half so much as she deserved." In June 
1855 Miss Faucit again appeared for a short engagement at the 
Haymarket Theatre, during which (June 12) was produced ' Love's 
Martyrdom,' from the pen of Mr. John Saunders, a play which had 
been highly commended by Mr. Landor, Mr. John Forster, and 
others. It secured, however, only a succes d'estime, due in great 
measure to Miss Faucit's performance of the heroine. " More than 
to any merits of its own, the success of ' Love's Martyrdom ' is due 
to the admirable acting of Miss H. Faucit in the character of the 
heroine. Nothing could be more perfect than her delicate delinea- 
tion, either of her young and hardly conscious love, or of the same 
love, deeply felt, and impetuously declaring itself ; of her wounded 
pride ; of her inflexible devotion to her pledged word ; or of the 
hard struggle between her love and pride. The great ' point ' of 
the performance was a fine scene towards the end of the fourth act, 
in which, with a wild outbreak of tumultuous emotion, she declares 
to her cousin with how absorbing a passion she loves the man she 
believes herself to have lost for ever. It deservedly gained for the 
artiste the honour of a call at the end of the act." {Morning 
Chronicle, June 12, 1855.) On Friday, July 6, 1855, for the first 
time in London (having often previously performed the part on the 
provincial stage), Miss Faucit appeared at the same theatre as 
lolanthe, in Mr. Theodore Martin's version of 'King Rent's 
Daughter.' The Daily News (July 9, 1855) noticed the per- 
formance as follows : — " Miss Helen Faucit took a benefit at this 
theatre on Friday night, the result of which must have proved to 


the lady that the majority of the audience was not at all unwilling to 
concur in an opinion tolerably well credited, that she stands at the 
head of living tragic actresses. Her attempt was a bold one, but 
its success shows that she was right as far as the determination to 
obtain a recognition of her power was concerned. ' King Rend's 
Daughter,' which she chose for the first piece, is, as a dramatic 
composition, worthless. It is a translation, or rather an adaptation, 
from the Swedish by Heinrik Herz. The interest depends upon 
the recovery of sight by a blind princess, under the excitement 
produced by a tumult of novel sensations. In the year 1849 two 
translations of this piece were brought forward. Mrs. Stirling and 
Mrs. C. Kean then undertook to represent the heroine. There is 
no doubt that the representation by Miss Faucit last night was 
a far more real thing than that of either of the actresses mentioned. 
The great defect of the piece is, that it sets the intellect at work to 
know what would be the nature of the victory achieved over a 
physical defect. The subject is essentially undramatic. Neverthe- 
less, with a tact which can have its foundation only in genius. Miss 
Faucit managed to throw ophthalmia into the background, and to 
bring forward human sensations, which have their source in nature 
far deeper than those from which physical defects spring. She 
carried a trumpery piece triumphantly on her shoulders, and fling- 
ing it before the audience, dared them to deny its value. The 
answer was all that she could have desired. Can any actress 
desire a greater success ? She achieved what ought to have been 
an impossibility." 

The record of Miss Helen Faucit's performances, from the year 
1855 to the date of her final disappearance from the stage, consists, 
for the most part, only of repetitions of previous impersonations. 
These have passed the ordeal of criticism again and again, and are 
among the familiar facts of the playgoing public* On Thursday, 
November 3, 1864, however, during Messrs. Falconer and Chatter- 
ton's management of Drury Lane Theatre, she played there the 
part of Lady Macbeth, a character in which she was almost new to 
London, the direction of her talents having generally led, as we 
have seen, to the adoption of the gentler heroines created by Shake- 
speare. In these she had acquired a high reputation; but in 
severer parts she had yet to justify her pretensions. It is gratifying 
to be able to record that she was not unsuccessful in the new part. 
Said the Athenceum (November 12, 1864): "Her Lady Macbeth 
is an original conception, elaborately studied and carefully iUus- 

* Mr. W. Clark Russell, in Representative Actors (p. 409), has collected 
a few criticisms on the acting of Miss Helen Faucit by De Quincey 
(1S4.3), William Carleton (1846), George Fletcher (Studies of Shakespeare), 
Sir A. Alison, Mr. Arthur Helps [Realniah), &c. Mr. George Henry 
Lewes, in Actors and tlie Art of Acting, incidentally mentions the same 
lady's name in the article " Macready " (p. 36). The labour and difficulty 
of searching out the fugitive contributions to journalism of the same writer, 
on the subject of Miss Faucit's performances, were too great to allow of 
my attempting the task. I tried, but found it next to impossible to trace 
them. — Ed. 


trated with sculpturesque attitudes, which are sometimes too pain- 
fully realized. Intent on these expressions of deliberate thought, 
the actress is incapable of impulse, which accordingly is throughout 
suppressed in favour of an artificial representation. We have 

"before us a living figure which undergoes a series of modifications 
prescribed by the most vigorous art. One of these is the attitude 
m which she stands reading the scroll that registers her husband's 
meeting with the Weird Sisters on the heath. It is gracefully 
marmorean, and gave the preKminary tone to the performance. 
The soUloquy was delivered with great energy, and rose to a height 
of poetical declamation seldom attained. The interview with Mac- 
beth was rendered impressive by all the aids of style and pre- 
determined emphasis, so that not a single word was bereft of its 
due force. . . . All that art could enable her to do Miss Faucit 
did ; but we have been more strongly impressed with the spiritual 
terrors that beset the self-communing sleeper by means more 

During November and December of the same year (1864) she 
appeared at the same theatre as Imogen (' Cymbeline ') and Rosa- 
lind ('As You Like It'). Touching these later performances of 
Miss Faucit, we borrow the following from Journal of a London 
Playgoer, by Prof Henry Morley, pp. 346-357 : " November 5, 
1864. — At Drury Lane the reappearance of Miss Helen Faucit 
brought us ' Cymbeline ' ;^^r Jmogen,Jc^j:aa&i bfiautiful of Shake- 

^Sp eare's fem ale~cKafacterSjjs-fh'afin which this lady seems most to 
delight and""Kr excel|"and with this she desired in returning to the 
London stage, of which she was some years since a chief ornament, 
to make her first impression. ... In its tenderness and grace of 
womanhood; in the simple piety which looks to the Gods when 
Imogen commits herself to rest, or is about to read a letter from 
her husband ; in the wife's absolute love and perfect innocency, void 
of false shame, slow to believe ill, strong to resist it. Miss Faucit's 
Imogen is eloquent to our eyes, even when she fails now and then 
to satisfy our ears. ... She is an actress train ed in theuschaoLof-the ... 
KpTiVhlpg, rarpf^i] ^;n nifilfp pv erv gesture an embodiment of thought ; 
too careful sometimes, as when, after t he cry ' What, ho, Pisanio ! ' 

_she_ remains with upraised arm _ thi:Qi].ghoi]t .ha lGhe„ speech of 
lachi m b that beg 'ms ' happy Lepnatus-! J— There- js- a graver- 
fault of excess in the first part of the representation of womanly 
fear when, as Fidele, she calls at the mouth of the unoccupied 
cavern, and runs from the sound herself had made. The warning 
of her error might be found in the fact that her pantomime here 
excites rather general laughter, where surely Shakespeare never 
meant that even the dullest boor should grin. But that short sin 
of excess is followed by the entry into the cavern, which is done 
most charmingly. Miss Faucit's voice is more often at fault; it 
fails her whenever she has a violent emotion to express, and 
passion sounds often like petulance. . . . Yet where the mere 
emotion to be expressed is more tender than violent she attains 
often — though even then, perhaps, with a too visible art — to the 
utmost delicacy of expression. ... On Wednesday Miss Faucit 


played Rosalind in ' As You Like It.' ... In all the scenes with 
Orlando Miss Faucit's acting is delightful. If she has not the 
art to conceal art, the art she does not conceal is true, is founded 
on quick and refined perception of the poetry she is interpreting. 
She can realize line by line, with tone and gesture, more of the 
spiritual grace and beauty of true poetry than any lady who now 
acts upon the English stage." 

Without attempting categorically to write down every principal 
incident in Miss Helen Faucit's brilliant career on the English 
stage, it may be remarked that her greatest impersonations in the 
Shakespearian drama — in the performance of which she has most 
excelled as an actress — have been Juliet^ Beatrice, Constance, Des- 
demona, Hermione, Isabella, Imogen, Portia, Lady Macbeth, and 
Rosalind. She followed Miss Va ndgphnff fthe original imper- 
sonator of the character in Engiand)as the heroine in ' Antigone/ 
first produced with Mendelssohn's music at Covent Garden Theatre, 
January 2, 1845, a part in which Miss Faucit gained, as we have 
elsewhere remarked, well-merited honour. Her presentation of 
the character of lolanthe has invariably incited high admiration, 
however much critics may differ as to the exact value of the play 
in which that character is cast. The great attractions of Miss 
Helen Faucit's acting could scarcely, perhaps, be more satisfac- 
torily summed up, than they have been in the following opinion of 
one of the more famous of her earlier contemporaries. Vandenhoff, 
in his Dramatic Reminiscences (London Edition, p. 40), remarks : 
I " Her expression of love is the_most beautifully c onfiding, trustful, 

j ^^^spn. aTTaTgnninffTn'ff trmp tTiat- T havp pvpr wit-npsspiH in any arrrp»!<;. 

1 It is intensely fascinating." Miss Helen Faucit's las t appearance 
\; onthis London stage~f5oE place~Juriel}i'76,"when shF appeared at 
the Lyceum Theatre in ' King Rend's Daughter,' Mr. Henry Irving 
playing the part of Sir Tristram. At the Shakespeare Memorial 
Festival, at Stratford-on-Avon (April 23-30), 1879, she imperson- 
ated Beatrice in a performance of ' Much Ado About Nothing.' 

FERNANDEZ, JAMES, was born at St. Petersburg, Russia, 
May 28, 1835, and entered the dramatic profession at the Queen's 
Theatre, Hull, October 1853. Afterwards he played at Stafford, 
Hanley, Lichfield, Isle of Man, Wolverhampton, Whitehaven, 
Rochdale, Blackburn, &c. Mr. Fernandez made his first appear- 
ance on the London stage at the Queen's Theatre, in 1855. Sub- 
sequently he played at the Bower, Queen's, Surrey, and Grecian 
Theatres ; and returned to the Surrey Theatre and remained there 
(under the management of Messrs. Shepherd and CreSwick) for six 
consecutive seasons, playing, in conjunction with Chailes Calvert, 
principal "juvenile" parts; among the number the character (jf 
Walter Hartright, in the first dramatization of Wilkie ColUnsJs 
' Woman in White.' Upon the destruction, by fire, of the Surrey 
Theatre, in 1864, Mr. Fernandez was engaged by the late E. T. 
Smith to sustain at Astley's Theatre the part of Ruby Darrell, 
in a new drama entitled 'The Mariner's Compass,' which had a 
lengthened run. Afterwards he appeared at the Lyceiun Theatre 


in a drama entitled ' Narcisse.' {See Bandmann, Daniel E.) 
In 1868 Mr. Fernandez was leading actor at the Theatre Royal, 
Brighton. The following year he accepted a special engagement 
to play the King- d' Scots at the Alexandra Theatre, Liverpool, 
appearing therefor the first time Easter Monday, 1869. Shortly 
after this Mr. Fernandez became the leading actor at the Amphi- 
theatre, Liverpool, and made his first appearance there as Shylock, 
to the Bortia of Miss Bateman. During this engagement, in a 
revival of ' Arrah-na-Pogue,' Mr. Fernandez played the part of 
Shaun the Post, of which performance the Liverpool Daily Post 
(May 1869) remarked as follows : — " None but an actor of sterling 
ability could have personated King James in ' King o' Scots ' as he^ 
did ; and his performance on Saturday was the best confirmation 
of the favourable opinion expressed of him when he played in Mr. 
Halliday's drama. It is a step indeed from King Jamie to Shaun 
the Post-boy, but the ability to sustain characters so widely different 
is a true and severe test. Mr. Fernandez has confidence in himself ; 
and his success in Shaun is ample justification for it, and another 
reason to thinli that he is one of the best stock actors that have 
ever appeared in Liverpool." 

Mr. Fernandez reappeared in London, at the Adelphi Theatre, 
1871, as Claude Frollo, in Halliday's 'Notre Dame,' playing the 
character for 270 nights, "with an earnestness and effect which made 
his ddbut on these boards a triumph of the most unequivocal de- 
scription." He remained at the Adelphi Theatre for three seasons, 
playing principal parts ; among others, Dagobert, Don Salluste 
(to Fechter's Ruy Bias), Newman Noggs, Micawber, &c. He was 
subsequently engaged by F. B. Chatterton for Drury Lane Theatre, 
and appeared there as Fitzjames in the drama of ' The Lady of 
the Lake ' ; and as Isaac of York in a revival of ' Rebecca.' He 
sustained the part of Old Tom in a revival of ' After Dark,' at the 
Princess's Theatre in June 1877, and psrformed the character for 
80 nights. Returning to Drury Lane Theatre, Septftnber of the 
same year, Mr. Fernandez acted the part of Christian in W. G. 
Wills's drama of ' England ' ; and afterwards appeared as Varney 
in a revival of ' Amy Robsart.' Subsequently he was selected by 
Mr. Henry Irving to support him, as Coitier in the production 
of ' Louis XL' at the Lyceum Theatre, March 12, 1878. Mr. 
Fernandez continued a member of the Lyceum company until June 
1878 ; he shortly afterwards accepted an engagement at the Globe 
Theatre, and thence went into the provinces, where he appeared 
with success as Gaspard in the English version of ' Les Cloches 
de Corneville.' 

FISHER, DAVID (the Elder). Born at East Dereham, Norfolk, 
one of the towns which formed the circuit of " The Norfolk and 
Suffolk Company of Comedians," an association of players esta- 
blished by the grandfather of the present actor, and which con- 
tinued under the control of Mr. D. Fisher's family (father and 
uncle) until about the year 1841. Trained from boyhood to the 
s.tage, but prevented for some years by a severe accident from 


following his profession, David Fisher became engaged in various 
musical pursuits in Norwich at the outset of his career. He 
appeared at public concerts as a principal viohnist, and secured 
favourable notice for his praiseworthy performances in this direc- 
tion. In 1849, after his recovery, he joined the company of Mr. 
Edmund Glover at the Prince's Theatre, Glasgow, meeting, as 
members of the same, Miss Agnes Robertson (Mrs. Boucicault), 
Mrs. Ternan, George Everett, &c. Playing a variety of characters 
during the succeeding four years, receiving during that time offers 
of engagement from Mr^ E. T. Smith of Drury Lane, and Mr. A. 
Wigan of the Olympic, Mr. Fisher finally arranged with Mr. 
Charles Kean, and made his first appearance in London at the 
Princess's Theatre, November 2, 1853, as Victor in 'The Lancers.' 
At the same theatre he played Windsor Brown in 'Away with 
Melancholy'; De 5r/jjac in ' Our Wife '; Faust; axidi Pertinax in 
his own production, ' Music hath. Charms.' Mr. David Fisher took 
part in the dramatic performances, at Windsor Castle, arranged by 
the late Charles Kean, playing 'the Marquis in the 'Wonderful 
Woman,' Gratiano in ' The Merchant of Venice,' and De Brissac 
in ' Our Wife.' In 1859 he accepted an engagement at the Adelphi 
under Mr. Benjamin Webster's management. It was at this theatre 
that Mr. David Fisher first played many of his most important 
characters, notably the AbM Latour in Watts Phillips's ' Dead 
Heart,' Garroway in the same author's 'Paper Wings,' Lanier es in 
',Magloire,' Hulks in 'The Willow Copse,' and Kyrle Daly in 
' The Colleen Bawn.' 

In 1863 David Fisher produced an entertainment called 'Facts 
and Fancies ' at the Hanover Square Rooms and St. James's Hall, 
which was noticed in the Observer (April 12, 1B63) as follows : — 
" Mr. David Fisher goes through the busy and prolonged pro- 
gramme with amazing spirit and address, and displays a versatile 
experience which those who knew him on the stage could hardly 
have expectSd. His musical attainments are very remarkable. 
He not only plays on the pianoforte with the skill of a proficient, 
but is more than respectable as a violinist, while his singing is neat 
and tasteful." In the autumn of the same year he joined Mr. 
Vining's company at the Princess's, playing Mr. Abel Honeydew 
in 'Paul's Return'; y agues Sabot in 'Light and Shadow'; and 
Mozart Smith in his own farce of ' Heart Strings and Fiddle 
Strings,' &c. In 1865 Mr. Fisher was specially engaged for the 
part of Orpheus in Offenbach's opera at the Haymarket. During 
a part of 1866 and up to July 1868 David Fisher was under the 
management of Mr. H. J. Byron at Liverpool, and undertook the 
duties of stage-manager, playing a great variety of characters at 
the Royal Amphitheatre and Alexandra, including Sir Peter 
Teazle, Sir Har court Courtly, Autolycus, Stephana, &c , &c. 
He engaged for the opening of the Globe Theatre in London, 
November 28, 1868; and on that occasion undertook the cha- 
racter of Major Treherne in H. J. Byron's ' Cyril's Success ' In 
1869 he appeared as Major Jorum in Boucicault's ' Formosa ' at 
Drury Lane, Henry Irving playing the character of ComptoK Kerr 


" The gem of the evening, so far as acting was concerned, was Mr. 
David Fisher's admirable impersonation of the roui asiA gamester, 

Major Jorum. Make-up, dress, action, were all perfect 

Mr. Fisher cannot be complimented higher than he deserves." 
{Standard, August 6, 1869.) In 1870 he accepted an engagement 
at the Olympic, and played, among other principal characters, 
Brijrard in 'Frou-Frou'; Micawber in 'Little Em'ly'; and Ldi-d 
Claremont in Tom Taylor's ' Handsome is that Handsome does.' 
At a performance for his own benefit, August 29, 1870, Mr. 
Fisher acted the character of Sir John Falstaff. Engaged under 
Mr. H. J. Montague's management, at the Globe Theatre in 1871, 
he played there Horace Mervyn in Byron's ' Partners for Life,' and 
Dick Fallow in Albery's ' Forgiven.' Engagements followed at the 
Opdra Comique, where in 1872 he acted the Marquis in an English 
version of M. Herv^'s 'L'OSil Crev^'; De Grignon in Charles 
Reade's adaptation from the French, 'The Ladies' Battle' ('La 
Bataille des Dames ') ; and Nicholas Flam in Buckstone's comic 
drama of that name. At the opening of the Criterion Theatre, 
March 21, 1874, he played Ransome Trivass in 'The American 
Lady'; at the Mirror Theatre (Holborn), Jack Paget in 'The 
Detective,' May 29, 1875 ; at Drury Lane, the same year. Father 
Dolan in ' Shaughraun.' Mr. Fisher joined Mr. H, Wigan's 
company at the Princess's in 1876. Since that year he has been 
engaged with a company playing ' Dan'l Druce ' in the provinces, 
and as an actor of principal parts in Mr. Gilbert's comedies. In 
1879 he was performing in the provinces in the so-called 'Crisis' 

FISHER, DAVID (the Younger). Professionally known as 
Walter D. Fisher till 1874, afterwards as David Fisher, jun. Born 
at Norwich. Was specially educated to the stage by his father, 
David Fisher the elder, at whose benefit at the Theatre Royal, 
Glasgow, in 1852, the younger Fisher first appeared on the stage as 
the boy in ' The Children in the Wood.' His first engagement in 
the dramatic profession was made at the Theatre Royal, Man- 
chester, September 21, 1862. Afterwards he fulfilled engage- 
ments in the provinces, at the Theatres Royal, Brighton, Dublin, 
Glasgow, Liverpool, Edinburgh, Newcastle, &:c. In the summer of 
1870 Mr. Fisher became lessee (in conjunction with Miss Marie 
Rhodes) for a short period of the Theatre Royal, Edinburgh, pro- 
ducing ' Formosa,'*' Lancashire Lass,' 'Prompter's Box,' &c., with 
considerable success. In 1873 he played at the Athen^e Theatre 
in Paris with an English company of comedians, which included, 
among others, Messrs. Ryder, Swinbourne, Charles Warner. Miss 
Viner, Miss Margaret Cooper, &c. In 1874 Mr. Fisher joined 
Mrs. Herman Vezin's so-called ' Cora ' company. He made his 
first appearance on the London stage July 1875, at the Theatre 
Royal, Haymarket, as Moses in 'The School for Scandal'; and his 
first important London engagement was at the Globe Theatre, 
where he acted Potain in a play adapted from the French 
(' L' Article 47 ') entitled ' Cora,' noticed in the Times (March 9, 



1877) as "one of the cleverest bits of acting in the piece." On 
August 12, 1877, Mr. Fisher appeared at the Haymarket Theatre 
as the Rev. Horatio Tibbets in G. F. Rowe's comedy of 'Brass'; 
subsequently playing at the same theatre in various Shakespearian 
parts during the engagement (1878) of Miss Adelaide Neilson, and 
later as David ('The Rivals'), Mr. Taper ly (' Conscience Money '), 
Ltrd William Whitehead (' The Crisis '). 

FISHER, WALTER H., is the son of a portrait painter of 
Bristol, and made his first London appearance on the stage in the 
play of ' Broken Spells ' at the Court Theatre. At the opening of 
the Olympic Theatre in 1873, under the management of Mr. Henry 
Neville, he appeared in a piece of H. J. Byron's entitled ' Sour 
Grapes.' In March 1874 he was the original Woodstock in Tom 
Taylor's play of ' Clancarty,' and in Mortimer's play of ' Figaro ' 
he was Cherubino the page. He has appeared as a singing light 
comedian at the Globe, the Royalty, the Strand, and other London 
theatres, and has at various times taken the parts of Marasquin in 
' Girofl^-Girofla,' Piquillo in ' La Pdrichole,' The Defendant in 
' Trial by Jury,' &c. He played Frickel'm. Lecocq's opera ' La Mar- 
jolaine' at the Royalty Theatre, October 1877, and appeared there 
in the opera bouffe of 'La Belle Hdlfene' in March 1878. When 
' Madame Favart ' was first produced at the Strand Theatre, Saturday, 
April 12, 1879, Mr. Fisher appeared in it as Hector de Boispreau. 

was born in November 1826. She studied under the following 
masters, viz. John Barnett (singing), J. L. Hatton (piano), Balzir 
Chatterton (harp) ; and made her first appearance in public in 
1845, ^t the Hanover Square Rooms, as a concert singer, on the 
occasion of the first performance of an original ' Stabat Mater ' 
composed by her brother, Edward Francis Fitzwilliam. Miss 
Fitzwilliam made her d^but on the stage the same year at the 
Theatre Royal, Birmingham, as Rosina in the opera of ' The 
Barber of Seville,' and during the two following and subsequent 
years fulfilled engagements in Liverpool, Manchester, Edinburgh, 
Glasgow, Dublin, and other important towns, playing "principal 
and leading business '' with several eminent members of the 
dramatic profession. With Macready she acted in ' Hamlet,' 
and sustained the part of Ophelia. With Mr. and Mrs. Charles 
Kean she appeared in 'The Wife's Secret,' as Maud, and in 
' Strathmore.' With Miss Cushman she played in several im- 
portant pieces. And on the occasion of the reappearance in Liver- 
pool (1847) of Miss Fanny Kemble (Mrs. Butler), after her long 
absence in America, Miss Fitzwilliam sustained the part of Helen 
to that lady's Julia in ' The Hunchback.' A contemporary Liver- 
pool journal, alluding to this performance, remarks : — "The hvely 
and volatile Helen was personated by Miss Kathleen FitzwiUiam, 
who, though more than commonly clever, would, we thought, fail 
in this rather difficult character. What, then, was our delio-ht' our 
astonishment, to see it played as we never saw it played^be'fore. 


Amidst all the Helens we ever saw, Miss Fitzwilliam ranks first. 
It was worthy indeed to rank with the Julia she played with. Few 
who saw Miss Fitzwilliam's perfect acting that night could have 
credited that she was, in comparison with those by whom she was 
surrounded, a perfect novice." Among other actors of note with 
whom Miss Fitzwilliam appeared in the earlier part of her career, 
Mackay, the celebrated Scotch actor, and Leigh Murray may be 
mentioned. With the first named she played in ' The Heart of 
Midlothian ' {Dumbiedikes, Mackay ; Madge Wildfire, Miss Fitz- 
william) ; and, with Mr. Leigh Murray (as Claude Melnotte), she 
personated Pauline in ' The Lady of Lyons.' 

Miss Fitzwilliam made her first appearance on the London stage, 
December i, 1847, at the Lyceum Theatre under Madame Vestris's 
management, as Peggy Green in a comic drama of that title, written 
expressly for her by Mr. Charles Selby. The original cast in- 
cluded the following well-known names : Charles Mathews {Mr. 
Edward Rover ly) ; Harley {Nicholas) ; Granby (Afr. Thomas Tip- 
pins) ; and Mrs. Macnamara {Mrs. Glover). "The drama is gay 
and sprightly throughout," said the Morning Advertiser (Decem- 
ber 2, 1847), "and it ends with an animated, bustling, good, hearty, 
homely, honest 'country dance.' The piece is rendered very 
amusing by the rough, rural acting of Harley ; the juvenile-antique 
affections and airs of Granby ; the dashing, daring, doings of the 
penniless Mr. Edward Roverly, admirably personated by Charles 
Mathews ; and the holiday adventures of some six fair and frolic- 
some milliners. Lastly (and yet in importance she should have 
been first) Miss Kathleen Fitzwilliam was extremely successful 
throughout this lively little drama. Her acting is naive, natural, 
easy, and unaffected ; and her singing is perfectly charming — from 
a sweet voice, managed with skill, taste, and feeling. The three 
elegant songs introduced and executed by her were very effective. 
The first especially delighted the audience, and was heartily en- 
cored. Indeed the dibut was in every respect successful, and the 
young actress cannot fail, with due attention and care, to secure a 
very favourable position in public estimation." 

Miss Fitzwilliam remained at the Lyceum Theatre for three 
seasons, playing, among others, the following original parts in the 
under-mentioned extravaganzas of J. R. Planch^, viz. Prince 
Humpy in ' The Golden Branch ' ; Prince Florizel in ' The King 
of the Peacocks'; Ariadne in 'Theseus and Ariadne'; St. George 
in ' The Seven Champions of Christendom.' She appeared also in 
the following leading parts at the same theatre during this engage- 
ment, viz. Margaret Honey ball in Shirley Brooks's play ' Anything 
for a Change '; Anne Page in a revival of ' The Merry Wives of 
Windsor'; and Polly Peachum in a revival (June 15, 1848) of 
'The Beggar's Opera,' with Madame Vestris as Lucy Lockit, 
W. H. Harrison as Macheath, Harley as Filch, F. Matthews 
as Peachum, Granby as Lockit, and Mrs. C. Jones as Mrs. 
Peachum. The Literary Gazette (June 17, 1848) noticed this 
•revival as follows: — "Foreigners beware! Enghsh actors have 
the remedy in their own hands ; and one of their most effective 

L 2 

hs the drama tic list. 

demonstrations was made at the Lyceum on Thursday evening, 
when Gay's 'Beggar's Opera,' restored to the pristine shape it 
bore one hundred and twenty years ago, was reproduced. The 
characters of the Player and the Beggar in the sort of introduc- 
tion which prefaces and closes the play were retained, and thus 
explained away the anomahes of the commencement and con- 
clusion; they could not have been in better hands than those of 
Messrs. Parselle and Meadows, the latter, as usual, ' made up ' to 

life. The cast was altogether powerfully strong The feature 

of the evening, however, was the Polly of Miss Kathleen Fitz- 
william ; it was not only graceful and interesting, but occasionally 
really pathetic ; and her warbling — for her singing of many of the 
morsels deserves that term — of the beautiful ballads scattered 
through the part was almost of nightingale sweetness ; she 
occasionally added some simple ornaments to the vocalization, 
displaying taste and ability of no ordinary kind, and she was loudly 
applauded and encored in three or four airs, such as ' Cease your 
funning,' and ' Oh, ponder well.' She also acted with great judg- 
ment and feeling." 

Miss Fitzwilliam performed the same part at Drury Lane Theatre 
in the month of July 1849, with Madame Vestris as Lucy, and 
Mr. Sims Reeves as Macheath, the occasion being the benefit of 
Kenney, the dramatist, who unhappily died the same evening. At 
the Windsor Castle Theatricals, Christmas 1849, Miss FitzwiUiam 
sustained the part of Endiga in the play of ' Charles the Twelfth,' 
and sang ' Rise, gentle Moon,' on the stage in the Rubens' room, 
accompanied by an unseen band in another apartment, led by Mr. 
Anderson, who stood midway, and with his baton acted as a sort 
of fugleman between singer and musicians. The Queen, through 
Mr. Charles Kean, sent a gracious and complimentary message to 
the actress, saying how pleased Her Majesty had been with the 
song, and expressing appreciation of " the admirable way in which 
Miss Fitzwilliam had accomplished, what must have been, a very 
difficult task." In 1-850 (January) Miss Fitzwilliam joined the com- 
pany of the Haymarket Theatre, under Mr. Benjamin Webster's 
management; but shortly afterwards transferred her services to the 
Adelphi Theatre, where she remained for three seasons, playing 
original parts in ' Mephistopheles,' ' Red Riding Hood,' ' Esme- 
ralda,' ' Jessie Gray,' ' The Tarantula,' ' Sea and Land,' &c., and 
appearing also in the French operettas of ' Griselda ' and ' Bon 
Soir, Signor Pantalon,' on their production in England. Miss 
Fitzwilliam made her last appearance on the stage in August 1852 
in the latter operetta, and thenceforward adopted concert singing 
as a profession. From the last-mentioned date until early in the 
year 1854 she sang with much success at most of the concerts 
and musical reunions in London and at several in the principal 
towns of the provinces. In May 1854 she married and left the 


• FLOCKTON, CHARLES P., made his first appearance on 

the London stage as Holdsworth in ' Glitter,' at St. James's Theatre 


December 26, 1 868. In the following year he was engaged at the 
Charing Cross Theatre, and later at the Royalty and Globe ; his 
performances in W. S. Gilbert's burlesque of ' Norma,' and in the 
comedies ' Not So Bad After All ' and ' Behind a Mask,' being 
favourably noticed in contemporary journals. More recently he 
has fulfilled a lengthened engagement at the Adelphi Theatre. 

FOOTE, LYDIA A. (a nom de MAtre), niece of the popular 
actress, Mrs. Keeley, made her first appearance on the London 
stage at the Lyceum Theatre, April i, 1852, in a child's part, in 
a piece entitled ' A Chain of Events.' Twelve years later, viz. on 
Wednesday, November 2, 1864, at the Olympic Theatre, first 
performance of Tom Taylor's play ' The Hidden Hand,' Miss 
Foote successfully sustained the part of Efiid Gryffyd'd; and in the 
following year, Saturday, March 4, at the same theatre, first per- 
formance of the same author's play entitled ' The Settling Day,' 
she acted the character of Miss Hargrave. In 1866, Saturday, 
October 29, Miss Foote sustained the part of Clara, in Mr. Wilkie 
CoUins's drama ' The Frozen Deep,' then first performed at the 
Olympic Theatre. By her graceful and earnest performance of 
this part she largely enhanced her reputation. Nothing could 
have been more life-like or interesting than her conception of the 
character.. On Saturday, April 6, 1867, first performance of Mr. 
T. W. Robertson's, comedy entitled ' Caste,' at the Prince of Wales's ^^ 
Theatre, she undertook the p art o f E sther E cgJM^ _" The.oiie ideal j^c 
personage of the play \a EsXer^viHo.0 j5,-£Htirely distinct from_her 
s^^£ri^o[\.yj_^i'^^JShoj)^_ the boundary marks of ' caste ' vanish, 

|liough~ it" IS on her account^that the battle of 'caste ' is fought. 

r~The author has eveh_givenQie£Jan,_aristocratig_tinge, and when her 
_s2uLjs_rousedsh.e does , not v^gs^J plebeian'' indapendenc& like , . . 
Polly, but~spea_Es3^as <Hri7 George d'Alroy, mother_,Qf-a, "ghild, of . , 
anci ent "Ii ri eage._ ^Tfl^l^^g^i .belong, the strojng situations, and 
generalTy ~what may be called, tlie, hard work of the_ piecer The 
part IS niost "efficiently filled by Miss Lydia Foote." {Times, 
"April 'II, 1867.) On Saturday, February 15, 1868, she was in' 
the original cast (as, Amanda) of ' Play,' first performed on that 
date at the Prince of Wales's. On Saturday, September 5, 1868, 
at the Holborn Theatre, first performance of H. J. Byron's drama 
' Blow for Blow,' Miss Foote played Mildred Craddock; and sub- 
sequently the part oi Alice Petherick, "displaying quiet pathos and 
real power, together with artistic sense and delicacy not often 
exhibited " {Athenceum, September 12, 1868). In April of the 
following year, first performance at the Globe Theatre of a play 
by Mr. H. J. Byron entitled 'Minnie; or, Leonard's Love,' she 
sustained the part of the heroine, Minnie Vaughan. At the same 
theatre, on Saturday, September 18, 1869, in a new comedy by 
T. W. Robertson, entitled ' Progress,' adapted from ' Les Ganaches ' 
of M. Sardou, Miss Foote enacted the part of the heroine. In 1870, 
Saturday, October i, at the Holborn Theatre, she played the leading 
female rdle in Sefton Parry's piece entitled ' The Odds.' At 
the same theatre, in December of the same year, first performance 


of Dion Boucicault's drama entitled 'Jezebel; or, the Dead 
Reckoning,' she sustained the part of Madame HArtignes. In 
1871, in a revival of ' Caste ' at the Prince of Wales's Theatre, Miss 
Foote played her original character. In 1872 (July), m a revival at 
the Gaiety Theatre of a version by Boucicault of Colman's comedy 
of 'John Bull,' she played the part of Mary Thornberry. In 
March 1875, first performance at the Adelphi Theatre of Halliday's 
dramatized version of Charles Dickens's ' Nicholas Nickleby,' she 
acted Smike. In December 1876 Miss Foote played the pari of 
Grace Harkaway, in a revival of ' London Assurance,' at St. 
James's Theatre; and on Saturday, January 6, 1877, first per- 
formance at the same theatre of ' The Danischeffs,' she sustained 
the part of Anna. In 1879 she was engaged at the Adelphi 
Theatre, appearing in revivals of ' The Hunchback,' ' School for 
Scandal,' ' Amy Robsart,' and ' Ticket-of-Leave Man.' 

Forbes-Robertson, art historian and critic, was born in London in 
1853, and educated at Charterhouse, and in France. He was 
admitted student at the Royal Academy of Arts in 1870. Mr. 
Forbes-Robertson made his first appearance on the stage at the 
Princess's Theatre, in March 1874, in the part of Chastelard in 
W. G. Wills's play of ' Marie Stuart.' Subsequently he played 
James Annesley in Charles Reade's ' Wandering Heir,' in London, 
Manchester, and Birmingham. Respecting this performance of 
Mr. Forbes-Robertson the following criticism appeared: — "We 
have rarely heard an actor talk so 'humanly,' with such a refreshing 
disregard of the arbitrary law of climax which seems to rule the 
stage. He has great earnestness, and dignified and natural bear- 
ing, and the true note of manly emotion." (Manchester Guardian, 
May 19, 1874.) The same year Mr. Forbes-Robertson accepted 
an engagement at the Prince's Theatre, Manchester, under Mr. 
Calvert, and played The Prince of Wales in the revival of ' 2nd 
Part of Heni-y IV.'; Lysander in 'Midsummer Night's Dream,' 
and Mercutio, ' Romeo and Juliet.' Returning to London he 
played a series of parts at the Gaiety Theatre, supporting Mr. 
Phelps ; afterwards accepting an engagement at the Olympic 
Theatre. In April 1875, at the Haymarket, he played in Tom 
Taylor's 'Anne Boleyn.' At the Lyceum, in July 1876, he sus- 
tained the part of The Abb^ de Larose, first performance of Mr. 
Buchanan's ' Corinne.' "A word of very hearty praise," remarked 
the Standard {]M\y i, 1876), "must be bestowed upon Mr. Forbes- 
Robertson, who, throughout the drama, gave a well-considered 
picture of the Abbd de Larose, and displayed real and unexpected 
power in the last act. His abject terror when brought before 
Marat's remorseless gang in the prison was most forcibly expressed 
in his face and trembling limbs. The effort to steady himself and 
resume his courtly and gracious demeanour is admirably con- 
ceived." Mr. Forbes-Robertson returned to the Olympic, Easter 
1877, for two seasons, appearing as Jeremy Diddler' Geor<re 
Talboys, Sir Fred Blake in ' Money,' &c. ; and subsequently at the 
Haymarket Theatre, in September of the same year, he performed 


the part of Geoffrey Wynyard, in Gilbert's ' Dan'l Druce.' During 
the autumn season of 1878 he was acting at the Prince of Wales's 
Theatre in ' Diplomacy.' 

FORRESTER, HENRY, was born at Capel, Surrey, and 
entered the dramatic profession in 1855, at Worthing, in a com- 
pany under the management of Messrs. Parry and Castle. He 
made his first appearance on the London stage in 1858 at the 
Marylebone Theatre under Mr. Cave's management, in the cha- 
racter of Hassan, in 'The Castle Spectre.' The same year he 
accepted an engagement at the Lyceum Theatre under Madame 
Celeste; Mr. Forrester was the original Charles Darnay in the 
play of -A Tale of Two Cities,' first performed there. Subse- 
quently he went to Sadler's Wells under Mr. Samuel Phelps, and 
afterwards joined the Princess's company under George Vining's 
management, at whose theatre he was the original Paul Fair- 
weather in 'The Streets of London.' Mr. Forrester played the 
part of Friar Laurence (' Romeo and JuUet ') at Stratford-on-Avon 
at the celebration of the Shakespeare Tercentenary. Under Mrs. 
Bateman's management, and during the period of Mr. Irving's 
engagement, he was a member of the company of the Lyceum 
Theatre, and on February 14, 1876, appeared there as lago in 
Shakespeare's tragedy of 'Othello.' The Times (February 17, 
1876) remarked of this performance as follows: — "The lago of 
Mr. Forrester is as fine a piece of acting as, perhaps, any actor of 
to-day qould show us in this character. With boldness equalled 
by his judgment, he discards altogether the conventional idea of 
fawning craft and servile humility, which has been so often and so 
erroneously made the prominent feature in this wonderful character, 
■and which could but have disgusted, and never could have imposed 
on such a man as Othello. He stands up before us fair and square, 
manly of form, pleasant of voice and face, save when, with no 
companion but his own thoughts, he lifts for a moment the veil of 
his villany. ' This fellow's of exceeding honesty ' throughout, till 
his purpose is served, and he has done with honesty for good and 
all ; and it is precisely because he seems of such honesty that we 
find nothing incongruous in the success of what we know to be so 
outrageous a piece of treachery. His actions and attitudes, which 
are most natural and effective, and his voice go hand-in-hand 

Mr. ForrestSr has played the part of Dan'l Druce nearly three 
hundred times in the, provinces with great success. Since 1877 he 
has appeared in London at the St. James's Theatre in the parts of 
Othello, Claude Melnotte, Jaques (' As You Like It '), &c. When 
Mr. Irving assumed the management of the Lyceum, on December 
30, 1878, Mr. Forrester reappeared there in ' Hamlet ' as Claudius j 
and in the following March, during Mr. Irving's temporary in- 
disposition, he played Hamlet for three nights, being his first 
appearance in that character. Subsequently during the season he 
appeared in the various revivals of Mr. Irving's most successful 
plays, viz. ' Eugene Aram,' in which Mr. Forrester acted House- 


FOWLER, EMILY (Mrs. JOHN C. PembertoN), was born 
in Rochdale. At an early age she appeared on the continental 
stage as a dancer in ballet and spectacle ; but coming to London 
in 1868, made her dibut on the metropolitan stage at the Royalty 
Theatre, under Miss Oliver's management, in the burlesque of 
' Black-Eyed Susan.' Miss Fowler was afterwards engaged by Mr. 
John HoUingshead at the Gaiety Theatre, and subsequently by 
Mr. Wybert Reeve at the Charing Cross Theatre, where she first 
attracted notice by her painstaking acting in his comedy entitled 
' Not So Bad After AH.' Miss Fowler then joined the company of 
the Olympic Theatre, where in March 1874, first performance of 
Tom Taylor's drama ' Lady Clancarty ; or, Wedded and Wooed,' 
she acted the part of Lady Betty Noel. At the same theatre she 
appeared in the following plays with considerable success, viz. 
' The Ticket-of-Leave Man ' (revival), in which she sustained the 
character of May Edwards j 'The Two Orphans' (first perform- 
ance), in which she played Louise; and ' The Spendthrift ; or, the 
Scrivener's Daughter,' J. Albery (first performance), in which she 
acted the leading role. In September 1876, in a revival of Shake- 
speare's ' Henry V.' at the Queen's Theatre, Long Acre, Miss 
Fowler undertook the part of Katharine of Valois. In May 1878 
she assumed the management of the Royalty Theatre for a brief 
period, and produced there W. G. Wills's ' NeU Gwynne,' in which 
she played the heroine with much success. She produced on the 
same stage ' Scandal,' adapted from ' Les Scandales d'Hier,' by 
Arthur Matthison, in which she acted the part of Viscountess 
Liddesdale. On Saturday, September 28, 1878, Miss Fowler played 
Perdita, in a revival of ' A Winter's Tale,' at Drury Lane Theatre. 
Since that time she has been acting in the provinces. 

CIS Bateman), was born in New York. Fourth daughter of the late 
H. L. Bateman, formerly of that city, and subsequently lessee 
of the Lyceum Theatre, London. As a child she appeared, 
December 22, 1865, at Her Majesty's Theatre, in the character of 
Little Daisy, in the play of that name ; her sister. Miss Isabel 
Bateman, playing the part of Diggory Dawdlegrace. Miss Francis 
made her first appearance on the stage proper, Monday, October 19, 
1868, at the Haymarket Theatre, as Madelena, in ' Leah ' ; her sister, 
Miss Bateman, playing the title role. In May 1872, in a revival 
of that play at the Lyceum Theatre, she played the same character. 
In June of the same year, at the same theatre, first performance of 
' Medea ' (W. G. Wills), she sustained the character of Glaucea. 
"As Glaucea, Miss Virginia Francis acted with much taste and 
feeling. Her attitude at the foot of the altar in the second act was 
singularly graceful and poetical." {Athe?tceum, July 13, 1872.) In 
April 1876, at the Lyceum Theatre, Miss Francis performed the 
part of Princess Elizabeth, in ' Queen Mary ' (Tennyson) ; and 
in June of the same year, Mrs. Racket, in a revival of 'The 
Belle's Stratagem.' In April 1878 she sustained the part of 
Marie, revival of Boucicault's version of Casimir Delavigne's play 
' Louis XL' 


GAINSBOROUGH, MONTA. Bom in the West Riding of 
Yorkshire. Was educated to the stage from childhood, but severe 
indisposition prevented her from actively following the duties of 
her profession until 1869, when she appeared at the Theatre Royal, 
Leeds. From 1869 to 1872 she fulfilled various provincial engage- 
ments, playing during that period all lines of business. Miss 
Gainsborough's first appearance of importance was at the Queen's 
Theatre, London, as Amos, the boy, in Watts Phillips's drama of 
'Amos Clark.' At the Court Theatre, in 1873, she played the 
original heroine in ' Marriage Lines,' and subsequently, at the 
Op^ra Comique, sustained the characters of the heroines in revivals 
of H. T. Craven's plays 'Milky White' and 'Miriam's Crime.' 
July 1873, at the Haymarket, Miss Gainsborough played Paulitie 
(' Lady of Lyons '), Mr. Creswick performing the leading rdle. In 
November 1874, at the Prince's, Theatre, Manchester, in a revival 
of ' Romeo and Juliet,' arranged by Mr. Charles Calvert, she played 
Juliet for twelve nights. Afterwards, in various provincial towns, 
she performed the part of the heroines in the following plays, viz. 
' Lost in London,' ' Notre Dame,' ' Blow for Blow,' ' London As- 
surance,' ' The Ladies' Battle,' and the leading female rSle in 
several plays of the Shakespearian and poetic drama. In May 1875, 
at the Standard Theatre, London, she performed Ophelia " with 
much freshness and pathos, and meriting warm praise for the mad 
scenes, which were acted with remarkable grace and skill " {Times, 
May 17, 1875). The same year, at a morning performance (at the 
Alexandra Palace) of ' The School for Scandal,' in which Mr. S. 
Phelps played Sir Peter Teazle, Miss Gainsborough appeared as 
Lady Teazle. June 23, 1877, at the Prince of Wales's Theatre, 
Birmingham, in a revival by Mr. Charles Calvert of ' Sardana- 
palus,' she played the character of Myrrha, and with so much 
success that she continued to perform the part during a provincial 
tour which extended over six months. In November 1877, on the 
revival of the same play at the Duke's Theatre, Holborn, Miss 
Gainsborough represented the character in London. Easter, 1878, 
at the Alexandra Theah'e, Liverpool, she played Hero, in a revival 
of ' Much Ado About Nothing,' " with uncommon power and un- 
impeachable grace" {Liverpool Daily Post, April 23, 1878). 

GARDEN, EDMUND WILLIAM, was born in London, 
April 27, 1845, and made his d^but on the stage on the night of the 
opening of the Theatre Royal, Nottingham, under the management 
of the late Walter Montgomery. He appeared subsequently for 
entire seasons at the Amphitheatre, Leeds ; Lyceum Theatre, 
Sunderland ; Theatre Royal, Croydon (when first opened under 
George Fawcett Rowe) ; and Theatre Royal, Norwich, playing 
" light," " eccentric," and " first low comedy," in the entire range of 
the drama. Mr. Garden made his first appearance on the London 
stage at the Olympic, under the management of Mr. W. H. Liston, 


in the character of Uriah Heep in the play of ' Little Em'ly,' on the 
occasion of its revival, October 17, 1870. He remained at that 
theatre during two seasons, playing, among other characters, Dicky 
Duggo in Craven's 'Milky White,' and the "original" George 
Warriner in Byron's 'Daisy Farm.' He became one of the 
original members of the Globe company, when that theatre was 
opened under the late H. J. Montague's management, and played 
there for nearly three seasons. He was in the original cast of 
' Partners for Life,' ' Forgiven,' ' Spur of the Moment,' ' Tourist's 
Ticket,' ' Arkwright's Wife' (on its first performance in London), and 
' Fine Feathers.' In the latter play he was very successful in the 
part of Daniel Dole, a circus clown, known in the programmes as 
the " celebrated Chaucerian comique." " Skilfully portrayed by the 
author, this admirable character is wrought by the actor, without 
the slightest straining after a point, into one of the most impressive 
pictures the gallery of the stage has exhibited for many years. There 
is a fine touch of pathos in the last act, where the clown comes to offer 
the gratuitous services of the company in aid of the broken-down 
circus-proprietor they have so long faithfully served in better days ; 
and it may be safely said that, although the marked intelligence of 
Mr. E. W. Garden has been frequently before noted in other 
characters, he has here raised himself at once into a high position 
as a thorough artist." {Daily Telegraph, April 28, 1873.) Mr. 
E. W. Garden was the original representative of Don BoUro in 
Lecocq's ' Girofld-Girofla,' when that opera was first produced in 
English at the Philharmonic Theatre. He has visited most of the 
chief towns in the United Kingdom on several tours, playing 
original parts and principal characters in such pieces as 'Two 
Roses,' &c. He was the original representative in the provinces of 
Talbot Champneys in Byron's ' Our Boys,' and Mr, Gibson Greene 
in the same author's ' Married in Haste,' and has played those parts 
uninterruptedly in nearly every town in the United Kingdom for a 
period extending over three years. 

GARNER, ARTHUR, was born at Bath, February 8, 1851, and 
entered the dramatic profession in 1870, making his first appearance 
on any stage October 29th of that year, at the Prince of Wales's 
Theatre, Liverpool, in a small part in Farnie's burlesque ' The Idle 
'Prentice.' On the termination of the season at the Prince of 
Wales's, in April 1871 he joined a travelling company in Scotland, 
as " walkmg gentleman," and afterwards played the same Hne of 
"busmess" under Mr. J, L. Toole during his summer provincial 
tour m that year. In June 1872 Mr. Garner joined the company 
of the Amphitheatre, Liverpool, under Mr. Leslie's management, 
to play the "juvenile leading business." In March 1873 he sailed 
for Australia, and subsequently appeared at the Theatre Royal, 
Melbourne, as Frank Golds-worthy in Brough's comedy ' Kind to a 
Fault,' with very considerable success. He remained in Australia 
about three years, playing for a great part of the time at the 
Melbourne Theatre all the principal light comedy and juvenile 
business. May 29, 1875, Mr. Garner sustained the part of Captain 


Molineux in ' The Shaughraun,' on its first performance in Australia. 
Having travelled through that country, he returned by way of 
San Francisco and the United States to England, and appeared 
November 6, 1876, at the Amphitheatre, Liverpool, as Tom Spirit 
in Paul Meritt's play entitled ' Stolen Kisses,' then performed for 
the first time. He made his first appearance on the London stage, 
June 25, 1877, at the Globe Theatre, in the part of Chandos 
Bellingham in ' After Dark.' Subsequently at the same theatre 
Mr. Garner played his original part of Tom Spirit ('Stolen Kisses') 
for 150 consecutive nights, commencing June 2, 1877. He appeared 
in the same part on a provincial tour which lasted for forty-five 
consecutive weeks in 1878, 'Stolen Kisses' being the only piece 
performed by the company, of which Mr. Garner was a member, 
during that time. In April 1879 he started for Melbourne to fulfil 
a lengthened engagement in the Australian colonies. 

GARTHORNE, C. W. (CHARLES W. GrimSTON), is a brother 
of Mr. W. H. Kendal, and made his first appearance on the stage 
at the Theatre Royal, Edinburgh, December 1869, in the character 
oi Adotphus in ' Bachelor of Arts,' with the late Charles Mathews. 
He first appeared in London at the Vaudeville Theatre, April 16, 
1870, as Tom Buncombe in ' For Love or Money.' This play was 
the first of the Vaudeville successes. On a tour in the provinces 
with the original Vaudeville company he played Cateb Deecie in 
Albery's 'Two Roses,' having previously played that character in 
London during Mr. Thome's absence. After fulfilling an engage- 
ment at the Theatre Royal, Brighton, for one season, he played 
at the Royalty Theatre for six weeks, and was the original Hudson 
in Bertie Vyse's comedy of ' L. S. D.' He also appeared as Gavis 
and Romeo ; and afterwards at the Olympic Theatre for nine 
months, under Miss Ada Cavendish's management. For the next 
six months he was on tour with Mr. Richard Younge, playing Tom 
Pogson in ' Time's Triumph,' Lord Gadderty in ' Fine Feathers,' 
and Major M'Tavish in ' Old Soldiers.' From thence he engaged 
with Mr. Flockton on tour, representing the characters of Cateb 
Deecie in 'Two Roses,' The Great Baggs in 'Apple Blossoms,' 
Jones in ' Two Thorns,' Diet: Tatton in ' Forgiven,' &c., in Mr. 
Albery's pieces. After playing Lord Woodstock on a tour with Mr. 
Richard Younge's ' Clancarty ' company, and a brief engagement 
at the Opdra Comique Theatre, he rejoined the company at the 
Vaudeville Theatre in January 1875. In 1876 he played Chartes 
Middtewick in Byron's comedy of ' Our Boys ' in place of Mr. 
Charles Warner, the original representative of that part. Mr. Gar- 
thorne was the onpxiaiLord Asptand in the same author's comedy 
of 'The Girls,' first performed at the Vaudeville Theatre, April 19, 

GEORGE, EDWARD JOHN, was born in London, October 29, 
1842, and made his first appearance on any stage, November 1865, 
at the Theatre Royal, Norwich, as Winterbottom (the valet) in 


' Arrah-na-Pogue.' He had played in various benefit performances 
— e. g. at the Royalty Theatre, July lo, 1875, as Dame Hatley in 
' Black- Eyed Susan ' (F. C. Burnand)— previous to his professional 
dibut in London, which took place September 22, 1877, at Drury 
Lane Theatre, in the part of the Chamberlain in ' Barbazon,' 
operetta by Arthur Matthison. In the intervening period Mr. George 
had undergone " all the drudgery of a provincial actor's life," his 
first important engagement having been entered into with the 
late Mdlle. Beatrice, in whose theatrical company he played Pitou 
in the EngUsh version of ' Frou-Frou.' At the Hull and Brighton 
Theatres Royal, Mr. George was for a long time a special favourite 
in what is known as " character parts." In November 1877 h'^ 
commenced an engagement in London at the Adelphi Theatre as 
Bob Saunders in 'Formosa'; subsequently succeeding Mr. Emery 
in the part of Chamboran, 'Proof,' apd more recently playing 
at the same theatre Crabtree in a revival of ' The School for 

GIBSON, JAMES RHIND, was bom at Aberdeen, Novem- 
ber 28, 1842, and entered the dramatic profession November 18, 
1862, appearing first at the Theatre Royal, Sheffield. He after- 
wards played various parts in the provinces, and for the season 
1 866-7 was enrolled by Mr. C. Calvert as a member of the company 
of the Prince's Theatre, Manchester. At that theatre he played 
Odaviiis C^j-ar (' Antony and Cleopatra'), Edgar ('King Lear'), 
Abbot of St. Maurice ('Manfred'), lago ('Othello'), &c. In August 
1867 Mr. Gibson became stage-manager of the Theatre Royal, 
Newcastle-on-Tyne, and in April 1868 returned to the Prince's 
Theatre, Manchester, where he acted various characters of note in 
the dramas of Boucicault and others. In 1869 he appeared at the 
same theatre as Camillo in a revival of ' A Winter's Tale.' The 
same year Mr. Gibson became leading actor of the Theatre Royal, 
Edinburgh, and sustained there, among other characters, the part 
of Jaques to the Rosalind of Miss Helen Faucit at her farewell 
performance in Edinburgh. In 1870 he went on a six months' tour 
with Charles Dillon, playing lago, Macduff, Petruchio, Gratiano, 
and lastly, with great success, at the Theatre Royal, Glasgow, the 
part of Bailie Nicol Jarvie to that actor's Rob Roy. Mr. Gibson 
was leading actor at the Glasgow Theatre Royal in 187 1, and in 
the following year accepted an engagement in the like capacity at 
the Opera House, Aberdeen. In 1S73 he travelled as a dramatic 
reader in Scotland. In 1875 (having in the intervening period been 
incapacitated by severe illness) Mr. Gibson played various" starring" 
engagements in Scotch roles. In 1876 he sustained the part of 
A ntigoiiHs in a revival of 'A Winter's Tale ' at the Alexandra Theatre, 
Liverpool. In 1877 he again performed Scotch rdles in leading 
towns in Scotland. In the year following, on April 6, he made 
his first appearance in London at the Duke's Theatre, in the 
character of Jock Howicson in the play of ' Cramond Brig,' and 
was subsequently engaged by Mr. Irving for the Lyceum Theatre, 
where since December 30, 1878, he has been performino-. 


GIDDENS, GEORGE, was born at Bedfont, Middlesex, June 17, 
1845, and first appeared on the stage at Theatre Royal, Edinburgh, 
in November 1865, in the part of Katty in ' Arrah-na-Pogue.' 
Afterwards he performed at various theatres in the provinces, and 
accepted an engagement as " comedian " in the " Swanborough 
Burlesque " and " Unit«d Service Dramatic " companies. In 1871 
he went to the United States as a member of " Charles Wyndham's 
Comedy Company," subsequently fulfilling engagements in " stock 
companies " at San Francisco, Chicago, and at the Union Square 
Theatre, New York, where he played Henry Greenlanes, first 
performance in America of 'Pink Dominos.' He has been "on 
tour" through the Australian colonies. Mr. Giddens made his d^but 
on the London stage at the Folly Theatre, in August 1878, in the 
part of Jenx in a play entitled ' The Idol.' 

gow, June 20, 1857, and first appeared on the stage at the Theatre 
Royal, St. Helen's, in the part of Montana (' Othello "). He made 
his ddbut on the London stage at the Duke's Theatre, Holborn, 
September 7, 1878, in the part of Theuerdur, in a piece entitled 
' The Barricade,' a dramatic version of ' Les Miserables.' At the 
same theatre he play«d with success the character of Salem 
Scudder in a revival of ' The Octoroon,' Captain Crosstree (' Black- 
Eyed Susan '), Kyrle Daly (' Colleen Bawn '), and Mr. Lamb 
(" original ") in the ' New Babylon,' by P. Meritt. 


FiVAS), was born in Edinburgh, May 29, 1846, and is the youngest 
son of the late Victor de Fivas (formerly of Edinburgh), M.A., 
LL.D., &c., author of many well-known French educational works. 
He made his first appearance on the stage, June 1864, at the New 
Royalty Theatre, as Bassanio ('Merchant of Venice'), under the 
name of 'Gilbert.' Afterwards he became ''stock leading-man " for 
several seasons at various provincial theatres ; and was a member 
of Mr. Walter Montgomery's company when that gentleman opened 
the New Theatre Royal at Nottingham. On December 26, 1871, 
at the New Theatre Royal, Bristol, he played the part of Captain 
Bill Backashaw in the pantomime of ' Dick Whittington and His 
Cat,' with much success. Mr. Glover's first appearance of note in 
London was made September 21, 1872, at the Adelphi Theatre, as 
Wild Murtoch in a revival of 'The Green Bushes,' Madame Celeste 
playing Miami, her original part. (See Celeste, Madame.) At 
the same theatre he played the following original parts, viz. Daniel 
Mandril in ' Mabel's Life ' (H. J. Byron), Colonel Crafton in ' Fritz ' 
(Andrew Halliday), J/r. Pollywiggle in 'A Yule Log' (Benjamin 
Webster, jun.), Captain Cartouche in ' A Waltz by Arditi ' (John 
Oxenford). Subsequently at the Princess's Theatre he played the 
part of Fix, the detective, during the performance of ' Round the 


World in 80 Days,' and at Covent Garden Theatre (1876), King 
Hokypokywankyfum, in the Christmas pantomime. 

GLYN, ISABEL (Mrs. E. S. DALLAS), was born in Edinburgh 
in 1825. She had played in a few rehearsals at Manchester pre- 
viously to her professional debut, which took place at the Olympic 
Theatre, London, Wednesday, January 26, 1848. Miss Gl vn_ 
made her appearance, specifically, as a pupil of _Charl^_.X£BLhlje,_ 
in the 'character of Lady Macbeth. The Athenaum (January 29, 
1^48) thias noticed her dibut : — "Miss Glyn Js a"brunette, rafhSf — 
tall, of a' well-proportioned figure and expressive featurw.^;^ jjef "' 
eyes are. large ^nd dark, and she has a prominent intellectuarfore^ 
—bead.' it was evident from her entrance that she wasJsuHerm^KnT" 
excessive nervousness. There was nevertheless in her eaHysce nes 
a marked intention, not fully brought out." J The voice faltered^=at__ 
times all but failed, and the action was embarrassed. As the J)lay__ 
progressed, however, the text was more strongly pronounced, _and it 
was interesting to note the gradual increa:se of confidence froin 
scene to scene. ... A course of provincial training would have 
made Miss Glyn, we doubt not, a great actress ; with proper 
allowance for the difficulties of her position, and a little generous 
management, she will, we believe, become so without it. We are 
content at present to record that her style is eminently natural 
and unaffected, and free from any tendency to rant or exaggera- 

At the same theatre, on Wednesday, February 16 of the same 
year, she played Juliana in ' The Honeymoon ' ; and on Wednes- 
day, September 27, 1848, at Sadler's Wells Theatre, Volumnia to 
the Coriolanus of Mr. Samuel Phelps. In the following month, at 
Sadler's Wells, she' played Hermione ('A Winter's Tale'), and on 
December 13, Queen Katherine. In 1849, on January 29, she 
appeared as Constance {' King John ') at Sadler s Wells. " The 
Constance of Miss Glyn is a marked improvement on her early and 
most crude style. Her grief and her indignation have no lack of 
intensity, she seems filled with a determination to give all her 
words and all her by-play their full expression, and some of her 
points are made with striking effect. Still there is a great deal to 
learn in the art of concealing art." {Times, January 30, 1849.) 
During the same year, at_Sadls£s.W,eys, Miss Glyn appeared (with 
' Mr. Samuel Phelps) in the following characters, viz._ Margarft of 
I Anjou (' Richard the Third ')j^,Por/za ('The Merchant of Venice'% 
I Emilia (' Othello "), Isabella (^MGZ.s\ire. for Measure ') ; and, after 
I long preparation of the piece, on October 22, 1849, ' Antony and 
Cleopatra' was produced for the first time at this theatre, Mr. 
Phelps acting Antony, and Miss GYyT^Cleopatra. The following 
criticism on this performance appeared in th&Atkenezum (October 27, 
1849):—" In portraying the enchantress, ClepJ/atra, Miss Glyn had 
occasion to draw upon the entire resources of her art. The variety 
and fascination of the character she touched to admiration. The 
caprice, the grace, the pride of the character were exhibited with a 
power which exceeded expectation. It was evident that she had 


made a profound and industrious study of the part. The whole 
portrait was thrown out with decision and force;' and richly 
coloured. Those parts in which dignity and anger were expressed 
— such as t he inter view with the messenger after Antony's second 
marriage — were given with a vehemence and pSwer-corresponding- 

Tolhelangaafe she had to deliver. But it was in the fifth act, 
when prepanng for her death, that the better phases of the cha- 
racter and the more refined parts of the action tested the fitness of 
the actress for this assumptioi;^_Indignant majesty, compulsory 
resignation, Jieroic resolve, and tender memory^ were^ll adequately 

■pronounced. The" death itself was a triiimph,'! - v - 

During 1856 Miss Glyn's engagement at Sadler's Wells continued, 
and she appeared there in the following characters, viz. Lady Mac- 
beth, for the second time ; Isabella, in Southerne's fine tragedy of 
that name ; Bianca, in Milman's tragedy of ' Fazio ' ; Juliana in 
' The Honeymoon ' ; and Beatrice in ' Much Ado About Nothing.' 
The production of ' Much Ado About Nothing ' at Sadler's Wells 
was highly interesting, from the circumstance that it exhibited Miss 
Glyn in an entirely new light. " Hitherto she had been confined not 
only to tragedy, but to the sterner section of tragedy, and there was 
some reason to doubt that a lady who had once adopted the 
elevated manner of interpretation would be able to realize the viva- 

_cious Beatrice. The result of her attempt surpassed even the most 
favourable expectations. Beatrice, as represented by Miss Glyn, 
was full of healthy hilarity, indicated by the play of the coun- 
tenance and the nimble readiness of the movements ; but she did 
not overpower her hearers with those incessant bursts of laughter 
that sometimes become fatiguing. It was the distinctive feature of 
her interpretation that she thoroughly _diiBlayed the mental pecu- 
, liaritie s of the .diaractgr without reco'urse' to violent pRysical ex- 
_ _ pedie nts. Her attack on Benedick at the ball, when she rallies him 
as ttie '"PririceT^jester,''~was a remarkable instance of discrimina- 
tion. She threw out her words with more than ordinary force, 
making them hit harder and faster, as if aware that she had seized 
on a happy suggestive notion and was deUghted with its capa- 
bilities." On Wednesday, November 20, 1850, Miss Glyn played 
the title rdle in R. H.J Horne 's version of ' JheDuchess of Malfi ' 
with marked success. On the occasion of her hrst " b^eiiefit,"" at ' 
Sadler's Wells Theatre, Tuesday, March 11, (i8|y^he"played 
Katharine {^T\\s. Taming of the Shrew ') for the first time. During 
this year she "made her first tour in the provinces and achieved 
great success ; and in September 185 1, for a brief period, entered 
upon a series of Shakespearian readings. On December 26, 185 1, 
she made her first appearance at Drury Lane Theatre (under Mr. 
Bunn's management) as Bianca (' Fazio ') ; and subsequently, 
Friday, January 16, 1852, appeared as Julia in 'The Hunchback.' 
The Times (January 17, 1852) remarked of this performance :— 
"Miss Glyn's Julia essentially differs from that of any other 
actress who has sustained the part. As if anxious to avoid the 
charge of exaggeration, she seems determined to place the cha- 
racter rather within the sphere of genteel comedy than to render it 


a. subject for tragic emotions. She plays with the sentiment of the 
first act. She does not exhibit a very intense grief when about to 
accept the Earl of Rochdale, and even the words, ' He never loved 
nie,' often uttered with such deep sorrow, were spoken rather as if 
they furnished a just pretext for revenge than with any other feeling. 
It was not till the interview with the humbled Clifford took place 
that she seemed to trust herself with all the agony of the situation, 
and the words, ' CUfford, why don't you speak to me ? ' after the 
previous quiet, came with terrific effect. In the fifth act, when she 
resolutely refuses to marry the Earl, and defies Master Walter, the 
tragic position is beyond a doubt, and Miss Glyn gave herself up 
entirely to its influence, occasionally at the expense of clearness of 
articulation. This is a defect she will easily remedy, for dis- 
tinctness of delivery is one of her great qualifications." 
._-~i, From_i^52_to_i 85^ Miss Glyn rarely appeared on the stage. In 
the latter year, on Monday, October 2, first performance at St. 
James's Theatre, of ' The King's Rival ' (Messrs. Tom Taylor and 
Charles Reade) she sustained the part of Miss Stewart. In 1855 
Miss Glyn accepted an engagement at the New National Standard 
Theatre, Bishopsgate, and appeared there in a number of her 
favourite Shakespearian representations, " opening " on March 3 as 
I Cleopatra ('Antony and Cleopatra'), and continuing to act at the 
y same theatre from time to time until 1857. jnj^r) she hadj:eturned 
' ^\ to the avocation of a " reader " in public of Shakespeare's plays, her 
_ I mosT successfurseTections "beiiig faTceh from the~pl'ay last iiamed. 
! She followed this pursuit "with unvarying success at iiiterSFatTclunng" 
the decade 1859-69. Miss Glyn appeared for a brief season at 
Sadler's Wells Theatre in 1859 in a "round" of Shakespearian 
parts, beginning with Lady Macbeth, performed there on Saturday, 
May 28. After some years' absence from the stage, in May 1867, 
she reappeared at the Princess's Theatre, as Cleopatra, and accord- 
ing to the Athenaum (May 18, 1867), "the triumph of the even- 
ing was the assumption by Miss Glyn of Cleopatra. The witchery 
of the blandishments, the Asiatic "undulatiolis of the form, the 
variety of the enchantments, the changes of mood, the impetuous 
passion, and in the end the noble resignation — all these points 
were brought out with an accuracy of elocution and with a force of 
genius which left no doubt on the mind that Miss Glyn is as great 
an actress as ever adorned the English stage." The following year 
(i86B>, April and May, she accepted a brief engagement at the 
Standard Theatre, appearing there as Hcrtnione, in ' A Winter's 
Tale,' among other characters. Since the last-mentioneddate 
^, Miss Glyn has rarely appeared on the boards of a theatre^ SKe^ 
has principally devoted herself to the instruction and preparatioa- 
of pupils for the stage, and to the " readings " already noticed. . JCIie_ 
first of these given by her in America, were delivered iii the autumn 
of 1870, at Tremont Temple, Boston, and consisted of selections 
(rom 'Antony and Cleopatra.' More recently (June 1878), Miss 
Glyn has been reading from the same play in London \ and-in~ 
, March and April 1879 she gave, with much success, "Readings.::: 
ffom Shakespeare " at the Steinway Hall, London. 


GOODALL, ISABELLA, was born in Liverpool, August lo, 
1 85 1, and first appeared on any stage at the Royal Amphitheatre, 
Liverpool, in ' The Middy Ashore.' She made her d/but on the 
London stage April 15, 1866, at the Prince of Wales's Theatre as 
Coralie in ' A Winning Hazard.' Miss Goodall has since appeared 
at the following theatres in London, viz. the Royalty, Alhambra, 
Strand, Holborn, Op^ra Comique, Haymarket, Prince of Wales's, 
and Gaiety, in most of the popular burlesques produced during the 
past ten years—' The Black Crook,' ' Field of Cloth of Gold,' ' Idle 
'Prentice,' ' Don Giovanni,' &c. 

GORDON, GEORGE LASH, was born in London, August 29, 
185 1, and first appeared on the stage in 1870, at the Theatre Royal, 
Scarborough ; after playing there a season he joined the late Mdlle. 
Beatrice's Comedy Company. At the termination of that engage- 
ment he joined the company of the Theatre Royal, Dublin, re- 
maining there till 1874, "playing a round of light comedy, and 
devoting spare time to dramatic authorship." In 1874 Mr. 
Gordon joined the company of the Prince of Wales's Theatre, 
Liverpool. He made his dibut on the London stage at the Opfera 
Comique, August 7, 1875, as Fred Walmsley, in his own farce, 
'Backing the Favourite.' In 1877 he "started a tour," in con- 
junction with Mr. Joseph Eldred, at the end of which engagement 
he produced, at the Princess's Theatre, Edinburgh, "a new and 
original comedy-drama " from his own. pen, entitled ' Auld Lang 
Syne,' which was subsequently (May 26, 1878) placed on the stage 
of the Park Theatre, London. Mr. Gordon is the author of other 
dramatic pieces produced at the same theatre in the same year. 
In 1879 he was engaged at the Duke's Theatre, playing in Mr. 
Meritt's ' New Babylon.' 

GOWARD, MISS. See Keeley, Mrs. 

GRAHAME, C, began her professional career at the Hull 
Theatre, December 26, 1875. Her merits attracted the attention 
of Mr. and Mrs. Kendal when they were fulfilling an engagement 
there, and she was engaged by them. On the 4th of January, 1879, 
she made her first appearance on the London stage at the Court 
Theatre as Lucy in ' A Scrap of Paper.' Subsequently she played 
the character of Leonie in ' The Ladies' Battle,' and Florence 
Dalston in Val Prinsep's sketch entitled ' Cousin Dick.' In each 
of these parts Miss Grahame showed more than ordinary ability. 

GRAHAME, J. G., first appeared at the Holborn (now Duke's) 
Theatre with Mr. J. S. Clarke in 1874 in 'Red Tape.' He took 
for a time the character of Charles Middlewick in ' Our Boys ' at 
the Vaudeville Theatre, and afterwards appeared at the Strand in 
Burnand's ' Our Club ' and other comedies. Later he appeared at 
the Folly in 'Retiring,' and in 1879 played at the Globe Theatre 
with Messrs. Shiel Barry and James Fernandez in ' Bird in Hand.' 
He has since been playing in the provinces. 




W. H. 

W. H. 


GROSSMITH, GEORGE (the Younger), son_ of George Gros- 
smith, a well-known popular lecturer, was for many years a re- 
porter in the law courts, which he attended with a view of ulti- 
mately entering the legal profession. Being, however, possessed 
of considerable musical ability, Mr. Grossmith, jun., at the sug- 
gestion of Professor Pepper, was induced to exchange the toil of 
the courts for more inviting repose afforded by the Polytechnic 
Institution. There, in 1869, he made his debut as a. public en- 
tertainer in the school of the late John Parry ; and in die follow- 
ing year went on tour with Mr. and Mrs. Howard Paul Sub- 
sequently, Mr. Grossmith visited many hundred of Provincial 
Literary and Mechanics' Institutions, in conjunction with his father, 
and on his own account, giving recitations, interspersed with songs 
and character sketches. In 1876-7 he produced an entertainment 
with Florence Marryatt entitled ' Entre Nous,' for which he wrote 
and composed the successful musical comedietta entitled ' Cups 
and Saucers.' During a part of the year it is Mr. Grossmith's 
custom to give recitals at private houses, and on one of these 
occasions he attracted the notice of Dr. Arthur Sullivan, who 
persuaded him to undertake the part of John Wellington Wells, 
in Gilbert aiid Sullivan's comic opera of ' The Sorcerer,' produced 
at the Op^ra Comique. Mr. Grossmith, jun., first appeared on the 
stage in that character. In May 1878 he became connected with 
'H.M.S. Pinafore' (the very successful opera by the same authors), 
as Sir Joseph Porter, K.C.B., a character sustained by him in 
a spirit of the most refined and amusing burlesque. During the 
" run " of that piece Mr. Grossmith has composed several " drawing- 
room comic songs " of a popular character, besides his own enter- 
tainments and scenas, of which the following will suffice as ex- 
amples, viz. 'The Silver Wedding,' 'Beauties on the Beach," Five 

GROVES, CHARLES, was born in Limerick, December 6, 
1843, and first appeared on the stage in the year following 
(October 1844), at the Theatre Royal, Monmouth, as Little Peter 
in 'Mr. and Mrs. White.'* "My dramatic career," Mr. Groves 

* Mr. Groves has the advantage of every other player whose name is 
included in the present edition. He made his first appearance at the age 
of ten months ! — Ed. 

(^liOl/^i, CHARLES. 163 

writes, " commenced at a very early period of my existence, having 
been born in the profession. My parents were at the time on tour 
with a company in Ireland, under the management of Mr. Collins. 
My father (Gharliis Groves) Was a provincial actor of over thirty 
years' standing ; iliy mother an actress bf even longer experience, 
she having played children's parts in London theatres in 1830-, 
under the name of Miss Bigg — ' Little Bigg,' as she was called. 
She appeared in ' Peter Bell the Waggoner^ at the old Cobourg, 
under Mr. Davage's management ;■ also as Tom Thumb at the Hay- 
market, in Edmund Kean's time, with Mrs. Glover, Mr. Dowton, 
and the elder Farren in the company." FoUowiilg his first appearance 
Mr. Groves does not seem to have been relegated to the nursery ; his 
services were utilized iii " speaking children's parts " until Novem- 
ber 1858, when he "first tasted the sweets of salary" as a member 
of the company of Mr. James RodgerS, manager of the T. R. 
Worcester, by whom Mr. Groves was engaged, to make himself 
"generally useful." For several succeeding years he "played all 
sorts of busiileSs, With all Sorts of managers, in all sorts of places^ 
experiencing the uphill work atld drudgery of a provincial actor's 
Hfe." Ill September 1868 Mt. Groves joined the company of the 
T. R. Bradford under Mr. Charles Rice, as "first low comedian," 
a'cfegsuch parts as Squifi Cheiiy (' David Gafrick "), Capi'ai?i Mon- 
ttafe ('Home'), DK BotchetBy CThe Unequal Match'), jl/zV-^a*/ 
/>^«^(' Arrah-na- Rogue '), &c. In September 1870 he " opened " at 
the Theiat're Royal, Brighton, as "first low comedian" and stage- 
maiiager. During this engagement he played Mould (' Not Such a 
Fool as He Looks '), BtiMer (' New Men and Old Acres '), Brown 
(burlesque, ' Brown and the Brahmins '), &c., &c. Mr. Groves 
made his dibut on the London stage, Boxing Night (Christmas),, 
1871, at Covent Gatrden Theatre, as Lebeau in ' Lost Letter,' and 
Sister Anne in the pantomime of ' Blue Beard.' Subsequently he 
played a short engagement at the Royalty Theatre ; and in August 
1872 " opened "at the Theatre Royal, Plymouth ; following which he 
joined Mr. C. Bernard's company at the Gaiety Theatre, Glasgow. 
Here he remained till March 1877, and established himself as a 
great favourite in burlesque and comedy. He was on tour with 
Mr. and Mrs. Kendal during the year last stated. October 12, 
1878, he joined the company of the Royalty Theatre, London, 
where he is now (June 1879), acting as Alderman Jones, in a 
comedy entitled ' Crutch and Toothpick,' by G. R. Sims. 

M 2 


HAMILTON, HENRY. Born at Nunhead, Surrey. Youngest 
son of the late Captain Hamilton, H.E.I.C.S. Educated at Christ's 
Hospital. Entered the dramatic profession in 1873, appearing first 
at the Theatre Royal, Edinburgh, under Mr. J. B. Howard's 
management. Subsequently he joined the following travelling 
companies of comedians, viz. Mr. Wilson Barrett's in August 
1873; Mr. Craven Robertson's so-called 'Caste' company in 
November 1874; and in April 1876, in conjunction with Mr. H. M. 
Pitt, he formed the "Pitt and Hamilton Comedy-Drama Com- 
pany." He made his first appearance in London at the Lyceum 
Theatre, July 1878, in the character of Snodgrass in the revival 
of 'Jingle' (Albery). During the autumn of the same year Mr. 
Hamilton was engaged for a brief season at Drury Lane Theatre. 

HARCOURT, CHARLES, made his first appearance on the 
London stage March 30, 1863, at the St. jfames's Theatre, as 
Robert Audley in George Roberts's dramatic version of Miss 
Braddon's novel ' Lady Audley's Secret,' first performed at the 
same theatre Saturday, February 28, 1863. He has since appeared 
in London with success in the following parts, viz. at Drury Lane 
Theatre, February 1866, as Baron Steuifort, in 'The Stranger'; 
at the same theatre, January 1867, as Frank Rochdale,va. a revival 
of 'John Bull'; at the same theatre, March 1868, as Count Henri 
de Villetaneuve, first performance of Colonel A. B. Richards's 
drama ' The Prisoner of Toulon ' ; at the Royalty Theatre, Sep- 
tember 1872, as Young Rapid, in a revival of Morton's comedy 
'A Cure for the Heartache'; at the Charing Cross Theatre, 
November 1872, as Captain Absolute, in 'The Rivals'; at the 
Globe Theatre, September 1873, as Lord Zeyland, first perform- 
ance of Richard Lee's play entitled ' Chivalry ' ; at the Haymarket 
Theatre, May 1876, as Claude Melnotte; at the same theatre, in 
January 1877, as Pygmalion, in a revival of Gilbert's ' Pygmalion 
and Galatea.' On Saturday, April 20, 1878, first performance at 
the Adelphi Theatre of F. C. Burnand's drama ' Proof ; or, a 
Celebrated Case,' adapted from the French ' Une Cause C^l&bre ' 
of MM. Adolphe d'Ennery and Eugfene Cornion, Mr. Harcourt 
played the part of Count d'Aubeterre. He has since appeared at 
the Haymarket Theatre as Mercutio in ' Romeo and Juliet,' a part 
which he acted with infinite spirit and discrimination. 

HARE, JOHN (a nom de th^dtrej John Fairs), made his first 
appearance on the London stage at the Prince of Wales's Theatre, 
September 25, 1865, in the part of Short in a play entitled ' Naval 
Engagements.' At the same theatre on Saturday, November 11 
of the same year, he sustained the part of Lord Ptarmigant, first 
performance in London of T. W. Robertson's comedy entitled 
' Society,' originally produced at the Prince of Wales's Theatre, 
Liverpool. This "bit of character" was made up to the life by 

HARE, JOHN. 165 

Mr. Hare. The acting throughout was admirable. Mr. Bancroft 
who performed the hero, Mr. Hare who played the part of a listless 
middle-aged lord, and Mr. Clarke who represented the vulgar- 
minded, self-sufficient young man of property, were most ^rtistic. 
On Saturday, September 15, 1866, first performance at the Prince 
of Wales's Theatre of T. W. Robertson's comedy entitled ' Ours,' 
Mr. Hare undertook the part of Prince Perovsky. The play was 
originally performed with great success at Liverpool. Acted with 
remarkable care by the excellent company of the Prince of Wales's, 
the comedy produced an effect which was most satisfactorily dis- 
played in warm applause and full and fashionable assemblages. 
Mr. Hare again distinguished himself as a most skilful delineator 
of character, and no more complete impersonation had been for 
some time seen than his embodiment of the Russian Prince 
Perovsky, characterized by the highest polish and the utmost 
refinement of speech and manner. {Daily Telegraph, September 
19, 1866.) On Saturday, April 6, 1867, first performance at the 
same theatre of T. W. Robertson's comedy entitled ' Caste,' Mr. 
Hare played the part of Sam Gerridge. The Daily News (April 
8, 1867) thus wrote of the performance : — " Mr. T. W. Robertson, 
whose great dramatic successes have been achieved at this theatre 
with pieces combining the elements of comedy and domestic drama, 
produced another play on Saturday night under the title of ' Caste,' 
which, in our opinion, is the best work he has yet given to the 
stage. . . . The aristocratic portraits — the mother, the son, and the 
son's friend, a captain of the ' haw-haw ' school — are comparatively 
weak, more or less wooden, conventional, and stagey, and highly 
coloured for the sake of contrast. The most natural and powerful 
character in the play is the drunken father — a selfish sot, partly 
self-deluded, partly a humbug. Next to him stands the other and 
the real working man, a mechanic whose flow of speech is not great, 
but who makes his presence felt by judicious ' business.' . . . Mr. 
Hare is so refined and perfect an actor, so true an observer of life, 
that we were not surprised to find him made up a sharp, wiry, 
veritable working man who might have stepped out of any car- 
penter's shop in England. His dialogue, however, wants a little 
more breadth in delivery and less use of the aspirate. The scene 
in which he reads to his ' intended ' the trade circular he has just 
composed is the most exquisite and unforced bit of comedy we 
have seen for years." 

In the following year, on Saturday, February 15, first perform- 
ance at the Prince of Wales's of Mr. Robertson's comedy entitled 
' Play,' Mr. Hare sustained the part of Hon. Bruce Fanquehere, 
according to the Times (February 17, 1868), another well-drawn part 
in the piece. " His morals are somewhat lax, but his principles, 
when a point of honour is concerned, are sound, and when interest 
does not decidedly pull the wrong way he is an earnest though cool 
advocate on the side of right. Mr. Hare, always ready to seize on 
exceptional peculiarities of character, is the very man to perform 
the character, and the figure he presents, with thin legs, imper- 
turbable demeanour, and a dress which, though plain, borders on 


the ' slangy,' is entirely new to the stage." On Saturday, January 
16, 1869, first performance at the same theatre of Mr. Robertson's 
comedy entitled 'School,' Mr. Hare played the part of Beau 
Farintosh. Discussing the merits of the players in the " original " 
cast, the Daily Telegraph (January 25, 1869) said: — "Whatever 
part Mr. Hare undertakes we may be quite assured the utmost 
amount of pains will be bestowed on every detail ; and this most 
creditable characteristic of the actor is especially to be noticed in 
his latest assumption. Beau Farintosh, who might have been a 
young ' buck ' in the days of the Regency, but who is now only a 
padded old man striving to repair the ravages of nature by the 
appliances of art, must be ranked among the very best of Mr. 
Hare's impersonations. The carefully made-up face, in which the 
wrinkles are effaced by the plastering of cosmetics, the affected 
jaunty air of youth contrasting with the unavoidable feeble gait, 
and the blundering short-sightedness of which he seems to be so 
amusingly unconscious, are admirably exhibited. An effective con- 
trast is also produced when he no longer afiects to conceal the 
years he has attained; and when clasping his long-sought grand- 
child to his arms with emotions which overpower his utterance, the 
old beau reappears as a grey-headed old gentleman, inspiring 
reverence instead of ridicule. The burst of pathos which acr 
eompanies this wholesome change favourably displays the power 
of the actor in a strong situation." 

At the same theatre, on Saturday, April 23, 1870, first perform- 
ance of Mr. Robertson's comedy entitled ' M.P.,' Mr. Hare acted 
the part of Dunscombe Dunscombe, a performance which, in the 
opinion of the Times (April 25, 1870), was the best of its kind 
then to be seen on the London stage. " Mr. Hare is the most 
finished actor of old men that our stage has had since the late 
W. Farren, if we except Mr. A. Wigan, who might, and no doubt 
will, be pre-eminent in this line of business whenever he takes to it. 
As it is, Mr. Hare has no rival in our theatres at this moment. . . . 
The one new incident of the comedy, and the best part intrinsically, 
of Mr. Robertson's piece, is the scene of the sale by auction in 
Dunscombe Hall, which may have been suggested by the late 
R. Martineau's impressive picture of ' The Last Day in the Old 
House,' but on which as well Mr. Robertson is to be congratulated, 
both for his choice and his treatment of the incident as his actors 
■ — Mr. Hare more particularly — for their perfect realization of the 
author's intention. We remember no more natural and touching 
passage of mingled comedy and pathos than the best part of this 
third act, and it alone would have secured the success of the piece. 
We have little but praise for all the aqtors concerned without a 

single exception Mr. Hare's performance in conception and 

execution was the ggm of the piece. Nothing so good is at this 
moment to be seen in London, unless it be in some of Mr. A. 
Wigan's admirable impersonations, and his material is less artistic 
than that with which Mr. Robertson has furnished Mr. Hare in this 
comedy. The scene in which the old squire resents Piers's charge, 
find that which follows when he listens to the voice of the auctioneer 

HARE, JOHN. 167 

knocking down his ancestral pictures, rises to the highest rank of 
acting in contemporary comedy. Throughout, his performance 
illustrated admirably a truth very important to dramatists and 
actors, viz. how wide and unoccupied a field there is for effective 
impersonation, even in the studiously unmarked and reticent 
manners of contemporary life, and among the class most careful to 
mask emotion and put the curb on all expression of it." During 
the remaining four years of his connection with the Prince of 
Wales's Theatre Mr. Hare appeared in the following among other 
plays, viz. in May 1872, 'Money,' as Sir John Vesey ; in February 
1873, Wilkie Collins's 'Man and Wife'; and, at Easter, 1874, 'The- 
School for Scandal,' in which he sustained the part of Sir Peter 
Teazle. " How loyally and well Mr. Hare would assist such a 
performance we all know, and how the performance was in itself 
brought into relief by Mr. Hare's good taste we must all be con- 
vinced. Without such a Sir Peter, who refines everything to a 
nicety, who remembers the tone and character of the old English 
gentleman and studiously forgets the coarseness, and we may add 
the grossness, which has been attached to the character by tradition, 
how much less expression would have been obtained in the great 
scene with Lady Teazle ! Surely a young actor can play Sir Peter 
Teazle without being obstinately compared with such geniuses as 
are identified with the character, and we may well congratulate Mr. 
Hare in successfully passing through a most harassing and almost 
overwhelming ordeal. It is difficult to shake the conviction of any- 
one, and with old playgoers old memories are necessarily dear ; but 
it will be gratefully remembered that in Sir Peter Teazle Mr. Hare, 
true to his art, discarded those coarse effects which are so telling, 
and, remembering his own standard and outlook of the character, 
played it with evenness and finish, and like a refined and well-bred 
gentleman." [Daily Telegraph, April 6, 1874.) At the close of 
1874 Mr. Hare retired from the company of the Prince of Wales's 
and entered upon the management of the Royal Court Theatre, 
which he opened on Saturday, March 13, 1875^ with a comedy 
by Mr. Charles Coghlan, entitled ' Lady Flora,' in which Mr. Hare 
played the part of Due de Chavannes. In addition to the foregoing 
he placed on the stage the following "original" plays, namely, 
Aide's comedy 'A Nine Days' Wonder,' Gilbert's fairy play 'Broken 
Hearts,' Mr. Coghlan's ' Brothers,' the late Lord Lytton's play ' The 
House of Darnley.' All of these, however, were not equally suc- 
cessful. Among the pieces in which he has performed since he 
assumed the management the following are entitled to particular 
mention, viz. ' A Qmiet Rubber,' adapted from the French ' La 
Partie de Piquet,' in which he acted the part of Lord Kilclarej ' A 
Scrap of Paper,' adapted from the French of M. Sardou, ' Les 
Pattes de Mouche,' in which he played Archie Hamilton j ' New 
Men and Old Acres ' (revival), and ' The Ladies' Battle.' One of 
the most successful plays produced by Mr. Hare at the Court 
Theatre was Mr. W. G. Wills's ' Olivia,' founded on a leading 
incident in Oliver Goldsmith's ' Vicar of Wakefield,' first performed 
March 30, 1878. In this piece, however, Mr. Hare did not appear. 


The character of Dr. Primrose was sustained by Mr. Herman 
Vezin, and that of Olivia by Miss Ellen Terry. In 1879 Mr. Hare 
appeared in various revivals of plays already named. On Saturday 
(afternoon), April ig, he produced at the Court Theatre ' The Queen's 
ShiUing' (G. W. Godfrey), a new version of ' Le Fils de Faraille' 
(Bayard and Bieville), already known on the English stage under 
the title of 'The Lancers' (1853). In the cast of the new version 
Mr. Hare appeared as Colonel Daunt, generally allowed to be one 
of the very best of this actor's impersonations. On Saturday, 
July 19, 1879, Mr. Hare's management of the Court Theatre was 
brought to a close with a performance for his benefit. In the 
course of an address spoken on the occasion, Mr. Hare referred to 
his new venture, as part manager of St. James's Theatre in con- 
junction with Mr. Kendal, in the following terms : — " Union is 
strength ; and I feel that in associating myself with an admirable 
man of business and a most able artist, and at the same time 
gaining the permanent services of his accomplished wife, there 
seems a reasonable hope of conducting successfully a theatre which 
up to the present time has laboured under the stigma of being 
unfortunate. I assure you we shall work our hardest to reverse its 
ill-luck, and it will be through no lack or endeavour on our part if 
we fail. I may tell you that our plan of campaign will be similar 
to the one adopted by me here. Comedy and comedy-drama will 
form the staple of our dramatic fare, and we shall endeavour to get 
the best company together, with a view to giving that which is 
always, I take it, the most satisfactory thing to an audience — an 
even all-round performance. Our opening" play will be 'The 
Queen's Shilling,' which has already been received with great 
favour at matindes ; and in the course of the season we may revive 
one or more English comedies, and an original play by Mr. Du- 
bourg will also be produced." 

HARRIS, AUGUSTUS, eldest son of the late Mr. Augustus 
Harris, in his day one of the most accomplished and successful 
stage-managers in Europe. Mr. A. Harris was for a short time in 
the house of Eniile Erlanger and Co. as foreign correspondent. At 
his father's death he entered the dramatic profession, and accepted 
an engagement to play Malcolm in a revival of ' Macbeth ' at the 
Theatre Royal, Manchester, under the management of Mr. John 
Knowles (September 1873). From thence he went to the Amphi- 
theatre, Liverpool, and played juvenile and light comedy parts with 
Mr. Barry Sullivan. During this engagement Mr. Mapleson en-,-- 
gaged Mr. Harris as assistant stage-manager to his Italian Oncfa 
Company, and after a fortnight appointed him stage-manager, in 
recognition of the way in which some operas had been by him 
placed on the stage at the Theatre Royal, Bath, under more than 
ordinary difficulty. 

In 1876 Mr. Harris was sent by Lord Newry as his representative 
to negotiate with the Od^on Company of Paris to appear in ' The 
Danischeffs ' at the St. James's Theatre, and was complimented by 
the well-known Parisian stage-manager, M. Boudois, on the effective 


way this play was placed upon the London stage. This engage- 
ment was, with the exception of that recently fulfilled by the 
members of the Com^dfe Fran^aise at the Gaiety Theatre, the 
most successful ever fulfilled by any French comedy company in 

Mr. Harris invented, constructed, and produced the pantomime 
of 'Sindbad the Sailor' at the Crystal Palace in 1876 on behalf of 
Mr. Charles Wyndham, and introduced some novel effects in the 
same that were much appreciated. In 1877 he "created" the part 
of Henry Greenlanes in ' Pink Dominos ' at the Criterion Theatre, 
playing the part every night during the long run of the piece. 

HARRIS, MARIA (MARIA ELIZABETH Glossop), was born in 
London, January 13, 185 1, and made her first appearance on any 
stage at the Princess's Theatre, Saturday, October 27, i860 — the 
date of Mr. Charles Fechter's first appearance in London — in a 
piece entitled ' The First Night.' Among the various plays in 
which Miss Harris has subsequently appeared on the London stage 
the following may be mentioned, viz. ' Don Caesar de Bazan ' ; 
'Jeannette's Wedding'; 'Silken Fetters'; 'Little Daisy' (T. J. 
Williams), all produced at the Princess's Theatre within the period 
1861-63 ; and ' The Little Treasure,' in which she acted the part of 
Gertrude; ' The Widow Hunt,' in which she has appeared as Mrs. 
Swandownj ' The Heir-at-Law,' in which she has played the part 
of Cicely Homespun j 'The Rough Diamond,' in which she has 
acted the character of Margery y- * Paul Pry,' in which she has 
played Pkcebe. Miss Harris hitherto has only appeared on the 
London stage. 

HARVEY, FRANK, was born in Manchester, April 1842, and 
made his first appealrance on the stage, July 1863, at the T. R. 
York, under W. S. Thome's management, where he was for some time 
the "singing walking gentleman" of the company. Subsequently 
he went to Plymouth, and was for two seasons a member of Mr. 
Newcombe's company at the Theatre Royal in that town. At the 
end of this engagement he joined the circuit of theatres under Mr. 
Wybert Reeve's management, remaining with him for two years. 
In August 1866 Mr. Harvey joined the company of the Theatre 
Royal, Dublin, " opening " there as Modus in ' The Hunchback ' in 
the month and year last named, and continuing a member of the 
company for four successive years. At Dublin he became very 
popular, and here, during a professional visit, made the acquaint- 
ance of the late Mdlle. Beatrice, of whose comedy-company he was 
the leading member, and the first engaged by that manageress. 
He made his d^but on the London stage at the Olympic Theatre, in 
May 1872, in an EngHsh version of M. Sardou's ' Nos Intimes,' in 
the part of Maurice. In this character Mr. Harvey showed himself 
much superior to the average jeune premier in an English per- 
formance, and his judicious acting of the part won prominent 
recognition. In conjunction with Mdlle. Beatrice he afterwards 
appeared in ' The Sphinx ' (as Henri Savigny), in ' Monsieur 


Alphonse' (the title r6li), in 'Frou-Frou' {Valreas), and in 'The 
Woman of the People' (Bertrand), at the Haymarket, Globe, 
Standard, and Olympic Theatres. For some years Mr. Harvey 
was the manager of Mdlle. Beatrice's company of comedians. At 
her death in 1878 he was made, by will, her sole legatee, joined with 
a request that he would continue the company in her name. Mr. 
Frank Harvey has written various plays which have been success- 
fully presented on the stage — ' John Jasper's Wife,' ' Jacqueline,' 
' Married, not Mated,' &c. The last was produced at the Olympic 
Theatre, April 26, 1879, 'he author in the principal rSle. 

HAYNES, THOMAS PERCIVAL, has been connected with 
the stage from boyhood. In 1871 he was a member of a traveUing 
company on the South Coast, and in that year first appeared at the 
Theatre Royal, Portsmouth, as first low comedian. From 1871 to 
1876 he was engaged on a tour with various companies. On 
September 10, 1877, he made his first appearance at the Princess's 
Theatre, London, as Nicholas Dovetail (•' Mischief Making "), and 
Tom Sprotter ('Guinea Gold'). In 1879 ^t the Princess's he 
played Delph in ' Family Jars ' for a " run " of 100 nights. 

HAYWELL, F., prior to his entering the dramatic profession, 
was in practice as a solicitor. He made his first appearance on the 
stage at the Marylebone Theatre, 5th March, 1855, with Mr. J. 
W. Wallack, as Florizel in ' A Winter's Tale.' Shortly afterwards 
he accompanied Mr. Wallack and his company to the Thditre 
Imperial des Italiens in Paris. For five seasons Mr. Haywell was 
a member of Mr. Phelps's company at Sadler's Wells, playing 
various important characters, amongst them Sebastian and Prince 
Escalus, in the last of which characters he appeared with Mr. 
Phelps's company before Her Majesty and the Royal Family at 
Windsor Castle in November 1859. He has acted at several of 
the provincial theatres (the T. R. Dublin, Brighton, the T. R. and 
Prince's, Manchester, I3ristol and Bath, Nottingham, Birming- 
ham, and others), playing the "leading business" at Nottingham, 
Dublin, and the Manchester theatres. He was stage-manager at 
the T. R. Manchester and other theatres, and was the last manager 
at the T. R. Manchester under Mr. John Knowles. In London, 
Mr. Haywell was at the Olympic for a season in 1875-6, and has 
also appeared at the Princess's as Lord Dalgarno in 'The King o' 
Scots ' ; as Master Ford at the. Gaiety ; lago at the Opdra Comique ; 
Mercutio at the Olympic ; and lately as Asa Trenchard at the Hay- 
market. He is the author of several dramas, which have been 
played in various provincial towns with some success. 

professional ddbut at the Princess's Theatre, Saturday, -September 
18, i8_52Xhaving previously appeared as an amateur at the Royalty 
Theatre), in the character of St ella, the heroine of Mr- Dion 
Boucicault's drama ' The Pririia~Dnirtra:'~TV[iss Heath's self-posses^ 
sion' oii the occasion is noted in contemporary journals as having 


been " remarkable.'' " Although we have not omitted one material 
fact in describing the story of ' The Prima Donna,' our description 
will give a very faint notion of the impression made by the piece, 
so much more does it depend upon character than upon plot. The 
personages of Stella, Margaret, and Rouble are all elaborately 
drawn, and gain additional colour from the very able manner in 
which they are acted.__j£«W^isJhe matuxedjyoirgn^ of her 

position, of a se nsitive and'pSsionate nature, but constantlyT^u^ 
^lat^d__^y_j^tern"regardrTmF_3uty. ~Miis^ H^ 
her, nTadeTier first appearance' on any public stage, and she may be 
'c^ongrafuIafearbn"the_jiTariner in 'which she accomplisheE^ a really ,^- 
7d'itlicuirtasE'. '"TTre position of Stella iiff the" Milan' scene is very 
_Relicate'7TlTR discovprv thnt she has been ' cut out ' by her little 
innocent sister, altEough" affecting, borders' 'on the* ludicrous, and 
the skill with which Miss Heath went through a variety of nuances, 
that by turns belong to high comedy and pathetic drame, shows 
great intelligence in a debutante. . , . ' The Prima Donna ' was 
received with loud applause, and beyond its intrinsic merits, its 
production is highly interesting from the fact that it has shown we 
have two young and rising talents, Miss Heath and Miss Agnes 
Robertson,* promising to supply the gaps which of late years have 
occurred so frequently in histrionic ranks." {Times, September 20, 
1852.) The piece was produced under the supervision^ of Mr. 
Charles Kean. Miss Heath remaine3~a hiehib^r of liis cbiiipaiiy"" 
for some years, playing in the various Shakespearian revivals 
which brought so much fame to the Keans and to the Princess's 
Theatre under their management. On Easter Monday, 1853, Miss 
Heath sustained there the part of Bianca in ' Marco Spada,' 
adapted from Scribe's libretto of Auber's opera of that name. 
Monday, June 5, 1854, she played Rose Walstein, first performance 
of J. M. Morton's piece ' From Village to Court.' The same year, 
Monday, October 9, first performance at the same theatre of 
Douglas Jerrold's drama ' A Heart of Gold,' she sustained the cha- 
racter of the heroine, Maude Nutbrown. Of this play, following its 
performance, Douglas Jerrold himself wrote, " With a certain grace- 
ful exception (Miss Heath), there never was so much bad acting as 
in ' A Heart of Gold.' " He spoke of it despairingly, as his " farewell 
to alldramatic doings." IhttAthenaum (October 14, 1854), examin- 
ing its merits, remarked->-=ii-AsL_aJit«:ajx.gr2duj:tijiDj_the.pJay i s ful l 
of beauties. . . . we do not hesitate to pronounce it one of the most 
interiectuar'plays — intellectual inJjcMiception and iir spirit— in ffle'^ 
moral as'~'Wai"as in the literary sense, that the English stage has 
--adde'd'tO'itSTeiJertOTy^dr mariy a season." The Times (October 
10, 1854) spoke of it as follows : — " Like most of the author's 
dramas, this work is placed in an old-fashioned period, the manners 
of a century back seeming to give g, greater opportunity for quaint 

dialogue than those of the present day The sole merit of 

the piece consists in the eloquence and sparkle of certain portions 
of the dialogue. Maude's description of London, as seen from the 

* Now Mrs. Dion Eoucicault. 


summit of St. Paul's, is a choice bit of fanciful word-painting, in Mr. 
Jerrold's best style, and a pretty series of conceits apropos of a foam- 
ing glass of ale, are put into the mouth of old Yewberry. For the 
rapid exchange of repartee two comic characters are devised, 
Michaelmas (Mr. Fisher), a waiter, and Molly Dindle (Miss 
Murray), a maidservant, who, though they have little to do with 
the plot, being constantly introduced, like the sweethearts of old- 
fashioned melodrama, deal out some of those smart ' hits ' with 
which Mr. Jerrold has often stirred an audience to a roar. The 
acting of the piece was good, but not all on the same level. Miss 
Heath, as Maude, a character endowed with varied attributes — 
now bounding with joyousness, now strong in indignation, now 
oppressed with grief — displayed unwearied energy and abundance of 
genuine feeling. Her unfeigned delight at the recovery of Dym- 
niond, when she sprang along the stage to spread the good news 
about the neighbourhood, and her eloquent denunciation of Pierce, 
were in the best spirit, and appealed irresistibly to the sympathies 
of the audience," 

In Mayjt8ss,>in a revival of Shakespeare's ' Henrxtllfi-Eighth^^at 
the PriricM^ (Mr. and Mrs. Charles Kean in the leading cha- 

j racters)7 Miss Heath ^\s.yG^ Anne Boleyn. In January 1858 she 
played the part of Ophelia. Said the Daily News (January 14, 

^1858) : — " Miss Heath's OpKelia merits a distinct recognition, from 

'its sweetness and grace. In characters requiring an elegant and • 
prepossessing appearance, combined with the power of expressing 
the gentler emotions of love and grief in a refined and artistic 
manner, this young lady evinces the greatest promise." On 
Monday, April 17, 1858, in a "grand revival" of ' King Lear' at 
the Princess's, she sustained the part of Cordelia^ During her con- 
nection wi'th"fhat theatre she several timeT'played in the series of 
dramatic performances arranged by Mr. C. Kean, and given by the 
Queen's command at Windsor and Osborne. Removing to SadTSi^s 
•Wells, on Saturday,. September 16, 1859;. she appeared therefor 
the -first time a^_Juliet\ " The Juliet of the evening was Miss 
Heath, well known at the Princess's, where she held a respectable 
rank, but never had the opportunity of occupying so important a 
position. There, however, she had acquired so much self-con- 
fidence that she could go through even so long a part as yuliet 
without hesitation or fear. Of course she was unequal ; but the 
traces of study were evident, especially in_tlie elocution, which is ^ar 
present artificial and without enough impulse, and the general out- 
line was commendably accurate. The chief fault was in the con- ~ 
ception, which might more fitly become the Greek Clytemnestra 
than the passionate and trusting devotion of the Italian Juliet. 
Her action was large and massive, while her speech was wanting in 
that full and round tone of delivery which would have better har- 
monized with the attitudes assumed. . . . She (Miss Heath) is now 
in a school the good influence of which has been already shown in 
beneficial fruits, and where she will have the utmost opportunities 

..of completing her histrionic education.". {Atkentzutn, September 
17, 1859.) The same month, at the same theatre, Miss Heath 


•played Mary Thornberry, in a revival of 'John Bull'; and in 
October of the same year, first performance at Sadler's Wells 
Theatre of Mr. Tom Taylor's play ' The Fool's Revenge,' she sus- 
tained the character of Fiordelisa " with all maidenly grace and 
delicacy " {Daily News, October 19, 1859). When the late Mr. 
Augustus Harris entered upon the lesseeship of the Princess's 
Theatre, he secured Miss Heath's assistance during a portion of 
Mr. Charles Fechter's engagement. She played there the part of 
The Queen of Spain, first performance of Falconer's version of 
JVictorjiiiga's-' Bias' (Mr- Fechter in the title ''^'(j^Saturdayj^ 
OctoBeri^ i860. "The cFaracter otTAe Queen was extremely 
well delineated by Miss Heath," remarked the Times (October 29, 
i860). " The rapt delight with which she listened to Ruy's declara- 
tion of love was even pictorial in its effect, and the agony and terror 
with which she watched the fierce struggle of the last scene were 
marked by the complete abandonment to the situation, which is so 
necessary when the more overwhelming emotions are to be de- 
picted." Subsequently Miss Heath devoted herself to "star "acting 
in the provifices, appeat-ihgonly~at intervals-on the metropolitan - 
stage. ^Her-most successful impersonations in London, between 
the last-mentioned date (i860) and the present year (1879), have 
been The Witch of the Alps, in the revival of ' Manfred ' at Drury 
Lane Theatre, in October 1863; Princess Olimpia, first perform- 
ance of Falconer's ' Night and Morn,' at the same theatre, January 
1864; Lady Isabelle, at the Surrey Theatre, in 'East Lynne,' in 
June 1867 — generally allowed to have been a fine piece of acting ; 
Margaret Ramsay, fi.rst performance of Andrew Halliday's 'King o' 
Scot^^at Drury LanCj^in^pJember 1868; and Jane^ Shore in Mr. 
Wills^s~3rama oFtha't name," produced at the Princess's Theatre in 
1 877=81" and subsequently (April-May 1879) at the Surrey Theatre. 
Miss Heath became identified with thaxo& >vhen the play was 
first acted in the provinces. The success of this play, both in' " 
London and the provinces, must be mainly ascribed to her admir- 
able impersonation of the heroine. Miss Heath is now the leading 
actress of the Court Theatre, of which lier husband is lessee and 
manager, in succession to Mr. Hare. *==;:: — - 


HENRI, BLANCHE MARIAN. Bom near Ross, Hereford- 
shire. She made her first appearance on any stage in 1870, at the 
Charing Cross Theatre, under the management of Miss Fowler. 
In May 1871 she joined the company of the Theatre Royal, Hay- 
market, playing, among other characters, Rachel Grindrod, in 
Byron's play ' An English Gentleman,' and Florence Trenchard in 
' Our American Cousin,' Mr. Sothern sustaining the principal rdles. 
Miss Henri remained a member of the Haymarket company for 
four years. In 1875 she accepted an engagement with the Vezin- 
Chippendale Comedy Company, of which Mrs. Vezin, Mr. Compton, 


and Mr. and Mrs. Chippendale were leading members. During 
the provincial tour that followed, Miss Henri played many im- 
portant characters in the old comedies with much success, notably 
Lydia Languish, Lydia (' The Love Chase "), young Lady Lambert, 
Miss Neville, Grace Harkwway, &c., &c. In January 1876 she 
returned to the Haymarket and .played Lady Rochfort, first per- 
formance of Tom Taylor's historical play of ' Anne Boleyn,' and 
afterwards proceeded on tour with Mr. J. S. Clarke's company, 
from that theatre. In March 1877, at the Royal Aquarium 
Theatre, Miss Henri played Estella {' Great Expectations '), and 
Mrs. Cuthburt (' Cyril's Success '). In October of the same year, 
at the Royal Court Theatre, she appeared in the first performance 
of Lord Lytton's posthumous drama ' The House of Darnley,' and 
subsequently sustained the part of Mrs. Fitzherbert, first per- 
formance of Tom Taylor's comedy entitled ' Victims.' " There is, 
indeed, not much that is heroic in the story of ' Victims,' unless 
it be in the case of the generous and devoted wife of Fitzherbert, 
who is represented with such excellent moderation and feeling by 
Miss Henri that the rather heartless trick to which she is subjected 
for the mere sake of bringing about the repentance of Mris. Merry- 
weather, necessarily awakens more sympathy than the author 
seems to have intended." {Daily News, January 28, 1878.) At the 
same theatre Miss Henri played Lilian Vavasour, in a revival of 
' New Men and Old Acres.' In April 1878, having accepted art 
engagement from Mr. and Mrs. Bancroft, Miss Henri became a 
member of the company of the Prince of Wales's Theatre. Sub- 
sequently, for the season 1878-9, she joined the Haymarket com- 
pany under Mr. John S. Clarke's management, and played there 
Easter Monday (April 14, 1879) the part of Lady Breezy, first 
performance of ' Ellen ; or, Love's Cunning ' (W. G. Wills). This 
part, well performed by Miss Henri, was one of the redeeming 
features of Mr. Wills's unsuccessful but in some respects- clever play. 
' Ellen ' was reconstructed and produced on the same stage under 
the title of ' Brag,' but was again unsuccessful. 

HERAUD, EDITH, was born in London, and is the daughter 
of Mr. John A. Heraud, author of two elaborate epics entitled 
' The Judgment of the Flood ' and ' The Descent into Hell,' as 
also of the acted dramas ' Videna,' ' Wife or No Wife,' and other 
pieces. Miss Heraud's genius as an actress was early developed. 
She was only fourteen years of age when she played the heroine 
Y of Hannah More's tragedy of ' Percy,' at .a private ■performance,' 
^at which Mr. Charles Kemble was present. In 185 1 she accom- 
panied some members ef the Sadler's Wells company to Rich- 
mond, and acted Juliet in the presence of an audience that 
included Douglas Jerrold, StirUng Coyne, and other celebrated 
dramatists ; this was noticed in the Era as an " extraordinary 
performance." She was now sought for by provincial managers, 
and appeared at Rochester, Southampton, Woolwich, Winchester, 
Canterbury, and Cambridge. On the revival of 'Pericles' at 
Sadler's Wells she was solicited by Mr. Phelps to represent its 


heroine, Marina, in which she was eminently successful. Charles 
Dickens several times witnessed this performance. The play ran 
for more than seventy nights, and after an interval was reviyed. 
In 1852 she performed Julia at the Olympic, then under the 
direction of Mr. Farren, and afterwards played at the Haymarket 
in her father's drama ' Wife or No Wife,' and also at the Maryle- 
bone Theatre as the heroine of a play by Mrs. Edward Thomas 
called 'The Merchant's Daughter of Toulon.' Among her im- 
portant parts was Ophelia in 'Hamlet'; her mad songs were 
peculiarly effective. As a reader of plays Miss Heraud has shown ^ 
extiuordinMy^2SE^.?i?y''_»t:ifei' ' Antigone '~af the 'Crystal PJilace 
created qulH^ sensation. The Daily News observed that " the 
effect was immense. Her clear mellow voice reached the ears of 
tbe~vast-atrdieHce," as was shown by the bursts of applause that 
followed her impassioned recitations, and her skill as an actress 
enabled her to give animation to the scene. In reading the dialogue 
b etwe en the two sisters,^ the difference in the 'tones of the voices 
of AntigoneiTiTH* that of Ismene was' clearly defined. The scene 
Where' "the^'eroihe' is" dragged away'fo death, while her cries of 

■^"grW^and" despair are echoed by the low wailing sounds of the" ' 
hrStrunTents [Mendelssohn's beautiful 'accompaniments], was very 

—^striklffg:*" In' rSjf Miss Heraud appeared at Sadler's Wells in 
' Medea,' as adapted to the boards by her father, from M. Legouv^'s 
^femous tragedy ; in 1859 this piece was revived at the Standard 
Theatre, and " ran " for three weeks. The Sunday Times and 
the Morning Advertiser commended her " truthful and natural 
manner," and her " full mastery over the passions." " The long 
conflict that the wronged and unhappy woman suffers was often 
brought out, and oftener suggested by the actress's powers. She 
showed the full dignity of suffering and passion ; and- whether as 
the forlora wife, the outraged, woman, or the relenting mother, 
touched the right key and fully reaUzed the emotion." To which 
the Evening Star adds, " Miss Heraud has evidently a strong 
poetic sympathy with the part — a vivid conception of what it is she 
has undertaken to represent ; and speaks far more from impulse 
than from rule." Other journals mentioned her acting in ' Medea' in 
high terms. Miss Heraud is also esteemed as an able represen-' 
tative of Lady Macbeth, a part in which she has frequently appeared, 
with Mr. Charles Dillon as the guilty Thane. She also achieved 
in 1854 a success, at the Grecian Theatre in a version of Mosen- 
thal's. drama itD^or|h,' which ran for a hundred nights. Previous 
to this she haoappeared at the £olygraphic Hall in a Shakespearian 
entertainment, in which, stje^enaQjei twelve of the immortal bard's 
heroines. These performances continued for nearly forty nights, 
and were highly commended by the London journals. She has 
succeeded also in the recitation of Milton's ' Samson Agonistes ' at 
Myddelton Hall and before the Society for the Encouragement of 
the Fine Arts. As j^ tea£hgtfl£elaciitiDn, Miss Heraud has^^uring 
the past ten'ye'aifsj'been singularly successful, the annual reading 
prizes distributed at the University of Cambridge having been, in 
divers instances, awarded to her pupils. In 1870 she produced at 



the Standard a play by Mrs. Edward Thomas, called ' The Wife's 
Tragedy.' "The piece," said the Sunday Times, "is of 'The 
Duchess of Malfi ' school, wherein horror succeeds horror, but it 
has good scenes and situations, and it has solid merit of dialogue. 
Miss Edith Heraud showed power as the Duchess." The Athenaum 
states that she " played with tenderness the part of the murdered 
Duchess, flashing, however, into fire when the motive of her own 
humiliation became apparenti" Miss Heraud for the last few years 
has been absent from the stage. 

HERBERT, LOUISA (Mrs. Crabbe), made her first appear- 
ance on the London stage at the Strand Theatre in September 
1854, as Maria Darlington, in the farce entitled ' A Roland for an 
Oliver.' In May 1856, at the Olympic, in a new drama called 
' Retribution,' in which Mr. A. Wigan acted the part of Count 
Priuli, " Miss Herbert appeared as a debutante, and achieved no 
small success " (Journal of a London Playgoer, H. Morley, 
p. 134). Miss Herbert's most important performances on the metro- 
politan boards belong to the period of her connection with the St. 
James's Theatre. She was a member of Mr. A. Wigan's company 
when he assumed the management of that theatre in i860, and 
afterwards of the company of his successor, Mr. Frank Matthews. 
Subsequently Miss Herbert herself undertook the management. 
Among the more noteworthy characterj,.,.S^stained by her during 
the time she was performing at the St. James's Theatre, 1860-1866, 
the following are entitled to specisJ'Tnention. On Saturday, 
January 21, 1863, she played the leading role in a piece entitled 
'The Merry Widow' (Leicester Buckingham), adapted from the 
French ' Jeanne qui pleure, et Jeanne qui rit,' and " in one situation 
nmde, the fortune of the little drama." Saturday, February 28, 
1863, ;she sustained the part oi Lady Audley in George Roberts's 
dramatic version of Miss Braddon's nove l ' La dy_AmUgy^9-S€cret,' 
then first performed. ". . . . Apart from the Interest ofThe~story 
itself — which, as we have said, proves excellently adapted to the 
stage — there is this end attained by the production of ' Lady 
Audley's Secret,' that it provides Miss Herbert with a part worthy 
of her abilities. Indeed, highly as the merits of this lady are 
appreciated by all the higher class of playgoers, few, we think, 
would have given her credit for her finished performance of the 
bold, bad, fascinating woman whom she personated on Saturday. 
In most of the dramas that have been chiefly supported by her 
talent she has been the meek sufferer, -ffith a load of trouble on her 
mind, to which she does not give verbal expression, and which 
reveals itself in a thousand mute indications of uneasiness. As 
Lady Audley, on the contrary, she has to do- even mnr^"TtraTT~;gTf?-- 
lias to suffer, and -terrible ^rejthe deedsshe does. _H£r_physical 
force is not always equal to her Tntehfions, but this inequality is 
overlooked in the amount of intellectual power she bestows upon 
the impersonation. . . . Miss Herbert's representation of th.e_affec- 
tation of indifference is exquisitely true^ _There is_ an_eYideat:--l 
exaggeration of liveliness, an inconsistent attention to the details of 


her drawing, a hollow flippancy, which no one can take for reality, 
and the voice is affected by the frightful apprehensions which the 
accomplished coquette is striving to conceal. By this time the 
variety of the part is nearly exhausted, and in the last scene, where 
the guilt of Lady Audley is brought home to her, she has only 
to reassume the air of defiant badness with which she has already 
met her first husband. Here it is only the power of Miss Herbert 
that prevents an anti-climax. But there is again a change, when 
defeated wickedness results in insanity ; and the disappearance of all 
expression whatever from a countenance that a moment before has 
expressed demoniac rage is remarkably fine." {Times, March 2, 1863.) 
On Monday, May 29, 1865, in ' Eleanor's Victory,' a drama- 
tization of Miss Braddon's novel of that title, from the pen of Mr. 
John Oxenford, Miss Herbert played the title rdle. "The whole 
interest is centred in Eleanor, who, as embodied by Miss Herbert, 
retains all the prominence, though losing much of the sympathy, 
which influenced the reader. The intensity of expression which 
the actress has at command, and the rare power of delineating the 
strongest feeling of vindictive hatred with the utmost refinement of 
manner, communicate a force to her denunciations, and a terrible 
reality to her emotions, which could not fail to impress the spec- 
tator. It may be doubted whether those who had come unprepared 
by a perusal of the novel clearly understood the pertinacity with 
which each clue to the offender had been followed up, or could 
fully appreciate the illustration, even so vividly given, of a stern 
tenacity of purpose ; but there could be no hesitation in recognizing 
the thorough grasp of the character which Miss Herbert had 
acquired, nor the artistic completeness of the entire assumption." 
{Daily Telegraph, May 30, 1865.) During the season 1865-6 Miss 
Herbert played the following characters at St. James's Theatre 
with great success, viz. Lady Teazle in a revival of ' The School 
for Scandal ' ; Miss Hardcastle in a revival of ' She Stoops to 
Conquer'; Beatrice in 'Much Ado About Nothing'; Lydia Lan- 
guish in ' The Rivals ' ; Mrs. Oakley in ' The Jealous Wife ' ; 
and Letitia Hardy in 'The Belle's Stratagem.' On Monday, 
November 9, 1866, first performance in London, at the same 
theatre, of Dion Boucicault's drama entitled ' Hunted Down,' Miss 
Herbert sustained the part of Mary Leigh. The feeling that is 
most strongly exhibited in Mary Leigh is her affection to her 
children. That she may not be torn from these she will submit 
to any sacrifice ; and when she is hunted down, and feels that her 
character is blighted, she will voluntarily leave them, that they may 
not be affected by her infamy. The expression of this sentiment 
showed Miss Herbert's talent in a new light, and she was equally 
successful in its more pathetic and its more violent manifestations. 
In April 1867, at the St. James's Theatre, Miss Herbert played the 
heroine in ' Idaha,' then first performed ; and in October, at the 
Adelphi Theatre, the leading rdle in Watts Phillips's drama 
'Maud's Peril,' then first performed. In 1869 Miss Herbert 
accepted an engagement at the St. James's Theatre, under Mrs. 
John Wood's management, and appeared in some of her best- 


known characters. Since her marriage Miss Herbert has retired 
from the stage. 

HERBERT, \WILLIAM (a nom de thMtre), son of the late 
Colonel W. F. Eden, of the Madras Army, was born in India on, 
November 1 8, 1844. He was for some years in the British Army, 
and served in H.M. 33rd Foot, both at home and in India. Mr. 
Herbert entered the dramatic profession in April 1870, and made 
his first appearance at the Charing Cross Theatre, under the 
management of Miss Fowler. In August of the same year he was 
engaged by Mrs. Bancroft for the Prince of Wales's Theatre, and 
remained with them for four years, playing several important parts. 
He was the original Arnold Brinkworth, in Wilkie Collins's drama 
' Man and Wife,' first performed at that theatre in February 1873. 
At the conclusion of his engagement at the Prince of Wales's he 
was engaged by Mrs. John Wood to support her on her provincial 
tour with Mr. Byron's comedy ' The American Lady,' playing 
Harold Trivass, the part created by Mr. Byron in London. Mr. 
Herbert was afterwards engaged by Mr. Horace Wigan for the 
reopening of the Holborn Theatre, and later on by Mr. Burnand 
for the Opdra Comique. At the Court Theatre he played in the 
successful comedy ' A Quiet Rubber,' and the character of Hector 
Placide in Boucicault's 'Led Astray.' In October 1876 he appeared 
as a member of the company of the Haymarket Theatre, his most 
successful impersonations during this engagement being Prince 
Philamir (' Palace of Truth'), and Tom Dexter (' Overland Route '), 
in revivals of those plays. In June 1877 Mr. Herbert went with 
the Haymarket company on Mr. J. B. Buckstone's farewell tour 
of the provinces, which lasted six months. During this time he 
appeared with success at all the principal towns in England, Scot- 
land, and Wales, in the following leading characters, viz. Charles 
Surface, Voting Marlow, Captain Absolute, Pjgmalion {'Fygmaiion 
and Galatea '),/'r/«« Philamir, Tom Dexter, Dazzle, &c. On his 
return to London, in December, he fulfilled a short special engage- 
ment, under Miss Ada Cavendish's management, at the St. James's, 
playing the character of Charles Surface. In January 1878 Mr. 
Herbert joined Mr. Toole, and acted in Mr. H. J. Byron's comedy 
' A Fool and his Money,' having been selected by the author for the 
rdle of Percival Ransonte. 

In August 1878 this actor was selected by Mr. Hare to play "on 
tour " Squire Thornhill in ' Olivia ' — an uphill and ungrateful part 
— in the presentation of which Mr. Herbert evinced much care and 
judgment. He made his reappearance at the Court Theatre, 
January 4, 1879, in his "original" character of Charles Kilclare 
in 'A Quiet Rubber,' and on Saturday, February 15 of the same 
year, at the same theatre, sustained the part o{ Henri de Flavigneul 
in a revival of 'The Ladies' Battle,' a performance which the 
Standard (February 17, 1879) noticed in the following terms ■— 
" The other hero of the play, Henri de Flavigneul, was imper- 
sonated by Mr. Herbert, who has we think never before acted with 
such force and feeling. The animation with which he gave the 

HERTZ, IDA. !79i 

description of his 'crime ' — the fastening upon the breast of his old 
general a cross in place of that which had been rudely snatched 
from it — was particularly good. The somewhat constrained action 
which was once a drawback to Mr. Herbert's performance has 
disappeared, and the freedom and appropriateness of his gestures 
are very noticeable improvements." 

HERTZ, IDA, was born in London, and made her first ap- 
pearance on the stage, November 1870, at the Standard Theatre, 
London, in the part of Polly Flamborough in a dramatized version 
of ' The Vicar of Wakefield.' Subsequently she played at the same 
theatre various characters in support of Mr. Sothern, Mr. B. 
Webster, Mr. Creswick, and other leading " stars." Miss Hertz 
has been a member of two travelling companies of comedians, the 
' Two Roses ' and the ' Pygmalion and Galatea ' ; the first under 
Messrs. Montague, James, and Thome's management, the second 
under Mr. J. L. Sefton's. She has fulfilled engagements at the 
Theatre Royal, Hull, and at the Prince of Wales's Theatre, 
Birmingham. In July 1876 she became a member of the company 
of the Prince of Wales's Theatre, London, tinder Mr. and Mrs. 
Bancroft's management, and is still (1879) playing there. 

HIBBERT, LOUISE, was born May 12, 1855, at Cordova, in 
Spain. She came to England at an early age, and having a 
predilection for a dramatic career, studied the rudiments of acting 
with Mr. Ryder. Having appeared at various theatres in the 
provinces, on June 20, 1874, she made her dibut on the metro- 
poHtan stage at the Queen's Theatre in the character of Juliet. 
The impression she made upon her audience was most favourable, 
according to the Times (June 22, 1874). " Her appearance is very 
charming. She enters thoroughly into the various emotions of the 
character, and evidently seizes the meaning of every situation. 
Most satisfactory were the passages expressive of tenderness or 
devotion." Afterwards Miss Hibbert accepted an engagement at 
the Gaiety Theatre, under Mr. John HoHingshead's management, 
to play Helena in ' A Midsummer Night's Dream.' In August 
1875 she went to the United States of America with Mr. Barry 
Sullivan, and with him played in several cities. New York, Boston, 
Philadelphia, &c., Ophelia, Lady Macbeth, Pauline (' Lady of 
Lyons '), Mrs. Beverley (' The Gamester '), &c. She returned to 
England, and visited the provinces on a " starring " tour, playing 
Beatrice, Rosalind, Lady Teazle, &c. Miss Hibbert sustained the 
character of Lady Dedlock in the drama of ' Jo ' (founded on 
Dickens's ' Bleak House ') on the occasion of its first perform- 
ance at the Globe Theatre in London. (See Lee, Jennie.) She 
subsequently accompanied Mrs. Stirling on a tour through Liver- 
pool, Edinburgh, Glasgow, Dublin, &c., and acted in those cities 
the following important parts, viz. Lydia Languish (' The Rivals "), 
Constance (' The Love Chase '), and Mabel Vane (' Masks and 
Faces '). In October 1877 she played a special engagement at the 
Theatre Royal, Bristol, appearing as Helen in Charles Reade's 

N 2 


drama of ' The Scuttled Ship ' with much success. In 1878 she 
went on tour with George Honey to play the character of Belinda 
in W. S. Gilbert's comedy entitled ' Engaged.' 

HILL, CAROLINE L. BROOK, was born at York, and 
entered the dramatic profession when a child, playing such parts 
as Mamilius in ' A Winter's Tale,' Arthur in ' King John,' &c., 
at Sadler's Wells Theatre, during the last two years of the manage- 
ment of Mr. Samuel Phelps. Afterwards Miss Hill obtained an 
engagement at the Haymarket Theatre, under Mr. J. B. Buckstone. 
At this theatre she remained during a long period, playing " ori- 
ginal " parts in various comedies placed on its stage, and, it 
may be added, with uniform success. Among important plays 
performed in London, in which, on their first presentation. Miss 
Caroline Hill sustained a leading character, the following are 
entitled to notice, viz. ' The Favourite of Fortune,' ' Mary Warner,' 
' The Palace of Truth,' ' Pygmalion and Galatea,' and ' All for 
Her.' In the two examples of W. S. Gilbert's " fairy-comedies " 
mentioned, Miss Hill was especially successful. Her very effective 
acting in the parts of Mirza {' Palace of Truth ') and Cynisca 
(' Pygmalion and Galatea ') contributed in no slight degree to the 
popularity which those plays subsequently attained. In 1879 Miss 
Hill accepted an engagement at the Duke's Theatre, and ap- 
peared in a play entitled ' New Babylon ' (P. Meritt), a piece 
described as " a mixture of Moncrieff's ' Tom and Jerry ' and Mr. 
Boucicault's ' Formosa,' " but which was, nevertheless, a considerable 

*HODSON, HENRIETTA, had earned some repute as an 
actress in the provinces, chiefly in burlesque, previous to her dSut 
in London, which took place in the second season of Miss Marie 
Wilton's (Mrs. Bancroft) management of the Prince of Wales's 
Theatre, December 26, 1866, in the character of Prometheus in 
H. J. Byron's ' Pandora's Box,' designated by the author " a grand 
new Christmas comicality." In the following year Miss Henrietta 
Hodson was engaged at the Queen's Theatre,t Long Acre, and 
appeared there on the opening night, October 24, 1867, in an 
unimportant character (yacintha) in Charles Reade's drama ' The 
Double Marriage,' the late Mr. Alfred Wigan in the leading r6le, 
Captain Raynal. The same season at the same theatre she acted 
Arabella Fotheringay in 'The First Night,' the same actor playing 
Achille Talma Dufard, one of his most important impersonations. 
, On January 8, 1868, at the same theatre. Miss Hodson was in the 
" original " cast (the play had been essayed at Liverpool with a 
view to presenting it on the London stage) of H. J. Byron's 
'Dearer than Life' as Lucy. Mr. Toole, Mr. Irving, Mr. C. 
Wyndham, Mr. Clayton, Mr. Lionel Brough, Mrs. E. Dyas, took 

t This theatre, after eleven years of variable fortune under a succession 
of managers, commencing in October 1867, and ending in the Spring of 
1878, has now passed into the hands of a Limited Liabihty Company for 
commercial purposes. 



part in the performance. Miss Hodson appeared in the original 
cast of the same author's play ' The Lancashire Lass,' first per- 
formed at the same theatre July 24, 1868. She also acted, during 
the term of her engagement here, in various extravaganzas and 
burlesques, ' La Vivandifere ' (W. S. Gilbert), ' The Stranger ' 
(Reece), ' The Gnome King' (W. Brough). On May 29, 1869, she 
took part in the first performance, at the same theatre, of Burnand's 
play ' The Turn of the Tide,' which had a considerable success. 
In the following year (January 1870), at the same theatre, she was 
in the original cast of Tom Taylor's play ' 'Twixt Axe and Crown,' 
the late Mrs. Rousby in the leading rdle. Completing her en- 
gagement at the Queen's Theatre August 10, 1870, on the 3rd of 
the following month she opened the Royalty Theatre under her 
management with a comedy by H. T. Craven and a burlesque by 
F. C. Burnand. During the year following she acted in various 
pieces, chiefly burlesque, at that theatre, and in 1872 returned to 
the Queen's, " opening " January 8 as Nydia the blind girl in John 
Oxenford's version of Lord Lytton's ' Last Days of Pompeii.' 
During the same year at the same theatre Miss Hodson played 
certain parts in the so-called " legitimate " drama : Virginia 
(' Virginius '), Imogen (' Cymbeline '), &c. Of the latter character 
she gave " a tender and graceful representation, failing only to 
convey those subtle shades of character, duly to embody which 
needs an actress of highest intellect and culture. She exhibited 
much grace and not a little intelligence, but no inspiration." 
{Athenisum, April 6, 1872.) Since this date Miss Hodson has 
appeared at various theatres in London and the provinces, one 
of her most successful later impersonations being that of Dick 
Wastrell, in a romantic drama in five acts entitled ' Old London,' 
adapted from ' Les Chevaliers du Brouillard ' (a French dramatiza- 
tion of Harrison Ainsworth's 'Jack Sheppard'), produced at the 
Queen's Theatre in February 1873. She was also very successful 
in a revival of * Pygmalion and Galatea ' at the Haymarket, in 
January 1877, in the character of Cynisca. Miss Henrietta Hodson 
is an actress of ability, and has proved herself competent and 
painstaking in various branches of her art. 

HODSON, KATE (Mrs. Charles Fenton), is a daughter 
of the late George Hodson, a favourite Irish comedian. She is a 
younger sister of Henrietta Hodson,,and a niece of Henry Marston. 
At the Queen's Theatre, Long Acre, when under the management 
of Mr. Labouchere, she appeared as principal soubrette under the 
name of Kate Gordon, and has played in other London theatres 
from time to time. 

HOLME, MYRA, made her first appearance on the stage 
January 10, 1876, at the Olympic Theatre, where she acted minor 
parts for some months. She was engaged to play Lady Hamerton 
in ' The Great Divorce Case ' at the Criterion Theatre. She was 
principal " walking lady " in other plays subsequently produced 
there, and also took part in Mr. Wyndham's revivals of old 


plays at the Crystal Palace, where she also appeared as Emily 
St. Evremond in 'The Ticket-of-Leave Man' with Mr. Henry 
Neville. Miss Holme afterwards took the part of Lady Lennox in 
' Family Ties ' at the Strand Theatre. Her next appearance in 
London was in ' Pink Dominos ' at the Criterion. She afterwards 
accepted an engagement at the Vaudeville, where she has appeared 
in several hght juvenile leading characters. At the reopening 
of the Lyceum Theatre by Mr. Irving, September 20, 1879, she 
appeared in ' The Boarding School ' and ' The Iron Chest.' 

HOLT, CLARANCE, was born in London January 12, 1826, 
and entered the dramatic profession in 1842, making his first 
appearance on the stage in that year at the Victoria Theatre as 
Timothy in ' All at Coventry.' After playing in the provinces for 
some years he went to the Australian colonies and fulfilled several 
very lucrative engagements. In 1857 he returned to England and 
assumed the management of the Marylebone Theatre, which he 
" opened " on October 5 of the same year with John Wilkins's 
successful five-act drama 'Civilization.' During the season Mr. Holt 
appeared in ' Hamlet,' ' Othello,' ' Macbeth,' and other characters 
of the legitimate drama; and on the 15th of February, 1858, 
produced for the first time in England ' Ruy Bias,' in which he 
performed the title r6le. His lease of the Marylebone having 
expired in March 1858, he played several starring engagements in 
the provinces, and in the following June left England to fulfil an 
engagement at New York. Here he appeared in 'Belphegor' at 
Burton's New Theatre with great Mat. Following this engagement 
Mr. Holt returned to Australia, once more with very profitable 
results. In January 1862 he became the pioneer of the English 
drama in New Zealand. At Dunedin he built a theatre, and 
opened with a full and efficient company. Here he played for two 
years and two months with unusual success. Having resolved on 
again returning to England, on the night of his last appeai-ance a 
handsome testimonial was publicly presented to Mr. and Mrs. 
Clarance Holt. " During their stay in Dunedin they had paid 
away for benefits and charities over 2300/. To ' stars ' they had 
paid 6000/. during the last fourteen months of the season. Having 
left Dunedin in August 1864, they appeared, by special desire, 
for one night only, in a grand performance at the New Hay- 
market Theatre, Melbourne, given on the 25th of that month, Mr. 
Holt taking the part of Rob Roy and Mrs. Holt that of Helen 
Macgregor. Lady Don appeared as Francis Osbaldiston— the 
Philharmonic Chorus, eighty in number, contributing their ser- 
vices. After the performance Lady Don presented Mr. and Mrs. 
Holt with a handsome silver vase, bearing the names of the 
company, and wishing them a speedy voyage to Old England." 
Arriving in London he entered upon an engagement at the Hay- 
market Theatre, and played with Miss Amy Sedgwick as Master 
Walter to her Julia in 'The Hunchback.' Mr. Holt then appeared 
in conjunction with Miss Helen Faucit at the Theatre Royal 
Manchester ; afterwards with Mrs. Scott-Siddons, then with Mdlle' 


Beatrice, and other tragediennes of the day, playing the opposite 
characters to them. He then appeared at the New Adelphi 
Theatre, London, as Ruy Gomez in Planch^'s favourite comedy 
' Faint Heart Never Won Fair Lady,' in which he proved himself 
a very efficient actor, after which he turned his attention to giving 
new and popular entertainments from the works of Shakespeare, 
Scott, and Dickens. In September 1878, in conjunction with Mr. 
Charles Wilmot (a comedian of standing in the colonies), he 
entered upon the management of the Duke's Theatre, Holborn, 
'■ opening " with an adaptation by Mr. Holt of Victor Hugo's ' Les 
Miserables ' entitled ' The Barricade.' In February 1879 the 
management produced " a new and original drama in a prologue 
and four acts, illustrating scenes and incidents of modern life in 
London, written by Paul Meritt, entitled ' New Babylon,' " which 
was very successful. 

■* HONEY, GEORGE, is generally allowed by dramatic autho- 
rities to have made his first appearance on the London stage at 
the Princess's Theatre in November 1848, as Pan. in ' Midas.' 
According to old play-bills, he was engaged at the Adelphi 
Theatre in the summer season of 185 1, acting in a comic opera 
entitled ' Good Night, Signor Pantalon,' and later in pantomime. 
At the outset of his professional career he was regarded not only 
as a comedian of much promise, but was also credited with no 
ordinary skill as an operatic vocalist. He appeared with con- 
siderable success in several of the English operas produced under 
the joint management of Miss Louisa Pyne and Mr. Harrison at 
Covent Garden Theatre ; and in Macfarren's ' Robin Hood,' per- 
formed at Her Majesty's Theatre under the direction of the late 
E. T. Smith, Mr. Honey rendered valuable assistance both by his 
comic acting and excellent singing. Since the decline of English 
opera, in England, Mr. Honey has devoted himself to performing 
in comedy and extravaganza, in which he has been very generally 
popular. Among other pieces that have obtained notice in which 
he has appeared with more than ordinary success, the following 
may be enumerated : In ' Miriam's Crime,' first performed at the 
Strand Theatre, October 9, 1863, "as a discreditable limb of the 
law Mr. Honey obtained much laughter by an exceedingly grotesque 
assumption of intoxication" (Daily Telegraph, October 10, 1863). 
In William Brough's burlesque entitled 'Prince Amabel,' performed 
at the Royalty Theatre in September 1865, Mr. Honey played the 
part of Turco the Terrible. On Monday, July 2, 1866, at the 
Princess's Theatre, first performance of Watts Phillips's drama 
' The Huguenot Captain,' he sustained the part of Annibal Locust, 
" a rather tiresome. Pistol-like part, which is very drunken and very 
musical, with plenty of work for the lowest notes of the human 
voice " {Daily News, July 3, 1866). 

On Saturday, April 6, 1867, at the Prince of Wales's Theatre, 
first performance in London of Mr. T. W. Robertson's comedy 
' Caste,' Mr. Honey played the part of Eccles. " Instead of the 
conventional clowns who are put in by slop-work dramatists to 


lighten the serious interest of their work, we have real characters 
who think, speak, and act like human beings, and yet are intensely 
amusing and interesting. The drunken father, evidently made up 
from Mr. George Cruikshank's pictures of ' The Bottle,' is ad- 
mirably played by Mr. George Honey, who made his first appear- 
ance at this theatre, and who never acted better. The part wants 
no such padding as the scraps of song, both comic and serious, 
given to it in various situations. The make-up, the voice, the 
manner, the savagery in one part, the hypocritical maudUn grief 
in another, the toadying to wealth in another, the disgust and 
abuse when wealth refuses to deposit even a sovereign, the exits 
and entrances of this character, are things to be gratefully re- 
membered by those whose melancholy duty it is to see all London 
plays and all London performers." {Daily News, April 8, 1867.) 
On the occasion of the opening of the Vaudeville Theatre under 
the management of Messrs. Montague, Thorne, and James, Satur- 
day, April 16, 1870, in a comedy entitled ' For Love or Money,' 
he acted the part of Major Buncoinbe. In May 1875, in a revival 
at the Prince of Wales's Theatre of ' Money,' he sustained the part 
of Graves. This performance was alluded to in the Standard 
(May 31, 1875) if' ^^ following terms : — "A noticeable and wel- 
come feature in the revival is the return of Mr. George Honey, 
who resumes his part of Graves, one of the most genuine and 
unexaggerated examples of pure humour the modern stage has 
witnessed. Before Mr. Honey has uttered three sentences the 
character of Graves is distinctly placed before the spectator. The 
manner in which the sigh of grief for the memory of ' sainted 
Maria ' gives place to the approving criticism on the glass of sherry, 
and the aspect of bereavement changes to a look of gratification as 
his eye lights on the pleasant face of Lady Franklin, is irresistibly 
amusing ; and the subsequent scene between the two is the per- 
fection of comedy acting. Those who have not seen Miss Wilton 
as Lady Franklin have no idea of the fund of humour which the 
character contains ; and to see how these two excellent artists 
play into each other's hands will afford entertainment to the most 
blasi of playgoers. Each look and gesture is replete with sig- 
nificance, and so artfully is Lady Franklin's little plot evolved 
that the solemn Mr. Graves is led into his wild Scotch jig in the 
most natural manner possible. At the end of the first act those 
who have refused a few pounds to the poor secretary hasten to 
offer them to the wealthy heir, and the only fault that can be 
found with Miss Wilton's Lady Franklin is that she too, hke the 
rest, eagerly puts her hand in her pocket to find the money." 

Of Mr. Honey's later impersonations, one of the most popular 
has been the part of Cheviot Hill in W. S. Gilbert's farcical comedy 
entitled ' Engaged.' Mr. Honey has appeared at various theatres 
in the United States. In 1879 (January 11) he commenced an 
engjagement at the Prince of Wales's Theatre, appearing in a 
revival of ' Caste ' as Eccles, of which character he was the original 
representative. The " revival," continuing to May 30 of the year 
last mentioned, was a complete success. 


HORSMAN, CHARLES, was born at Welchpool, Montgomery, 
shire, October 21, 1825, his first recorded appearance on the stage 
being at the Theatre Royal, Plymouth, in the year 1835, when he 
appeared as Albert to Mr. Macready's William Tell. He continued 
from that time, as a boy, to act occasionally such parts as Young 
Norval, Selim in ' Barbarossa,' &c. ; but was principally engaged 
in studying the rudiments of an artist's profession. In 1839 young 
Horsman entered the painting-room of William Beverly — the 
father of the present well-known scenic artist — on the so-called 
' Northern -Circuit,' and continued to serve under that gentleman 
for some years. In 1845, on the occasion of the opening of the 
Theatre Royal, Manchester, an epidemic among some of the 
members of the company necessitated Mr. Horsman's taking a 
place on the stage, and, in great measure owing to the genial advice 
of Mr. Macready, he began to take a serious interest in dramatic 
work. This was increased by the young actor's subsequent asso- 
ciation with the late G. V. Brooke ; and in 1847 Mr. Horsman 
finally adopted a dramatic career, accepting an engagement with 
Mr. Simpson at the Theatre Royal, Birmingham, as " light come- 
dian." Remaining at Birmingham and afterwards at Liverpool 
for a considerable time, he subsequently visited the "York and 
Worcester Circuits"; and in 185 1 made his first appearance in 
London at Punch's Playhouse (now the Strand Theatre), as Henry 
Thornton in ' Popping the Question.' After the season there he 
was mainly engaged as " leading man " and " hght comedian " at 
the Theatre Royal and Queen's Theatre, Manchester. In 1864 
Mr. Horsman reappeared on the London stage, at Sadler's Wells, 
under Miss Marriott's management, as Sir Rupert in ' Love.' The 
following year at the Lyceum Theatre, under Mr. Charles Fechter's 
management, he was engaged as " light comedian " and stage- 
manager ; and remained a member of Mr. Fechter's company for 
two seasons. Afterwards Mr. Horsman joined the " Princess's " 
company, under Mr. G. Vining, and appeared at the first per- 
formance of the dramatized version of ' Barnaby Rudge,' in the 
character of Black Hugh — a part which he played with considerable 
success. Mr. Horsman was manager of the New Theatre Royal, 
Leeds, for a season. He has played various special engagements 
with Miss Neilson, Miss Bateman, Miss Kate Rodgers, Mr. Barry 
Sullivan, and others. In 1875 he joined the Messrs. Gunn as 
manager of the Gaiety Theatre and Theatre Royal, Dublin, an 
office which he fulfilled for two seasons, and resigned in May 1877, 
owing to severe domestic affliction. Mr. Horsman has written 
various dramatic works and pantomimes, and is the author of a 
volume of poems descriptive of incidents of Irish life. 


HOWE, HENRY (a nom de thiAtre; Henry Howe Hutchin- 
son). Born at Norwich, March 31, 1812. He made his pro- 
fessional ddbut, October 1834, at the Victoria Theatre, London, in 
the part of Rashleigh Osbaldiston. Mr. Howe was engaged by 
Mr. Macready to join his company when he entered upon the 


management of the Theatre Royal, Covent Garden, in 1837, and 
played in the numerous pieces, both original and revived, produced 
there during that eminent tragedian's administration of its affairs. 
He was in the original cast of ' The Lady of Lyons,' first performed 
at Covent Garden, February 15, 1838 ; and of ' Richelieu,' played 
there for the first time March 7, 1839. (See Faucit, HELEN.) On 
the occasion of Mr. Macready's farewell performances, Mr. Howe 
played Marc Antony to the tragedian's Julius Caesar. So success- 
fully was this part acted that Mr. Macready drew a ring off his 
finger and presented it to Mr. Howe in token of his appreciation of 
Mr. Howe's meritorious services. This ring was a valuable one 
which had been found at Herculaneum.* After concluding his 
engagement at Covent Garden, Mr. Howe joined the company of 
the Haymarket Theatre, under Mr. Benjamin Webster's manage- 
ment, and continued a member of its company for a period of 
nearly forty years, without a break in the engagement. Such a 
lengthened term of service to the interests and fortunes of one 
theatre is unparalleled, we believe, in theatrical annals, and affords 
very gratifying testimony of Mr. Howe's abilities as a member of 
the dramatic profession. He was performing nightly at the Hay- 
market Theatre during the engagement of the late Mr. Charles 
Mathews and of his wife, Madame Vestris, in 1842-5 ; and he was 
a leading actor of the same theatre down to the transfer by 
Mr. J. S. Clarke of the unexpired term of his lease to Mr. Bancroft 
in the summer of 1879. T'o mention all the various plays and 
characters in which Mr. Howe has appeared in the interval would 
necessitate the preparation of a complete list of all the comedies, 
tragedies, interludes, and farces produced at the Haymarket during 
forty years. The following characters, selected from among those 
in which Mr. Howe first attracted attention as an actor at this 
theatre, are deserving of being recorded, viz. Brandon, in Lovell's 
comedy ' Look before you Leap,' first performed at the Haymarket, 
October 29, 1846; Ernest de Fonblanche, in 'The Roused Lion' 
(' Le Rdveil du Lion '), first performed at the same theatre, 
November 15, 1847— Mrs. Keeley, Mr. B. Webster, and Mr. A. 
Wigan were in the cast, and the piece attained an extraordinary 
success ; Lord Arden, in ' The Wife's Secret,' by Lovell, first per- 
formed at the same theatre January 17, 1848, Mr. and Mrs. Charles 
Kean acting the principal characters. {See Kean, Mrs. CHARLES.) 
On Monday, January 23, 1854, Miss Cushman acting the part of 
Bianca, Mr. Howe sustained the character of Fazio in a " revival " 
of Dean Milman's tragedy of that title. In June 1855 he appeared 
in a new play entitled ' Love's Martyrdom.' " A few errors of tact 
in the management of stage effect .... caused the success of the 
play to be somewhat doubtful until after the conclusion of the first 
three acts. But from that point all was triumph. The conception and 
management of the fourth act were unexceptionable, the writing was 
full of force and beauty, opportunity was given for a full display of 
the powers of Miss Helen Faucit as an actress, and the house was 
stirred into enthusiasm by her way of using it. In the same act all 

* Letter from Mr. Howe to the Editor. 


the point of the story, until then but dimly shown, was brought out 
very distinctly, being indebted much for its distinctness, let us say, 
to the excellent manner in which Mr. Howe delivered speeches that 
expressed the entire spirit and meaning of the author. The fifth 
act, although not equal to the fourth, untied the knot of the drama 
cleverly, and left the audience so thoroughly well pleased, that after 
the fall of the curtain there was nothing to be heard for some 
minutes but hearty acclamation." {Examiner, June 16, 1855.) 

In July 1855 Mr. Howe took part in the revival of Mrs. Centlivre's 
comedy ' The Busybody,' at the Haymarket, and played the part of 
Sir George Airey. In the following September (3rd) he was the 
original Captain Hawkshaw, first performance of Stirling Coyne's 
comedy 'The Man with Many Friends'; and in November he 
played Lord Townly in a " revival " of Vanbrugh's comedy ' The 
Provoked Husband.' " Miss Cushman was carefully supported by 
Mr. Howe, who, in the part of Lord Townly, rose to a degree of 
excellence that will serve to confirm the steady progress which he 
has lately been making in the good opinion of the public. In the 
pathos of the concluding scene he showed a power of producing a 
state of feeling in the house not always possessed by actors of 
greater name." {Athenaum, November 24, 1855.) The following 
year (1856), January 5th, Mr. Howe played Archer in a " revival " 
of ' The Beaux' Stratagem ' ; and in September (4th) Jaques in a 
"revival" of 'As You Like It' — a performance by Mr. Howe so 
meritorious as to deserve record in a contemporary journal as 
furnishing " an instance of what long practice and conscientious 
earnestness in art may ultimately achieve, even with limited means." 
In 1857 (September 7th) he appeared as Benedick in a "revival" of 
' Much Ado About Nothing,' " sharing the honour [of an ovation] 
and deserving it, for his Benedick was distinguished by many 
felicities of expression which commanded the repeated plaudits of 
the house. Mr. Howe's industry in his professional studies is now 
bearing its natural fruit, and his assumptions have all the merit 
of ripened talent." {Athenaum, September 12, 1857.) In 1858 
(May) he appeared as Joseph Surface in a revival of 'The 
School for Scandal ' ; and more recently in the characters of Sir 
Anthony Absolute, Ingot ('David Garrick'), and Sir Peter Teazle. 
During the succeeding twenty years Mr. Howe's name was seldom 
absent from the " bills " of the Haymarket Theatre, either in the 
announcement of new pieces or of revivals of old ones ; and he has 
performed almost every line of character in comedy and farce 
included in its dramatic collection.* In August 1879 Mr. Howe, 

* Mr. Howe writes to me : — "I have been so long at the Haymarket that 
now I play the ' old men.' I have played every part in the male rSle in 
some of the pieces produced on its stage. For instance, in ' The Lady of 
Lyons ' I began with the First Officer, then I played Gas far, Beauseant, 
Claude Melnotte, and now Colonel Damas ; and in many other pieces the 
same variety, as for instance 'The Stranger,' 'Money,' &c. I am now, 
and have been for three years, stage-manager. Lately I made a success as 
Sir Anthony Absolute and Sir Peter Teazle. I mention these parts, being 
now engaged for the ' first old men,' after playing all the different ranges of 
ch ■ " - . — . . .. "- 


through changes in the management, ended his long, and in all 
respects honourable, connection with the Hay market Theatre. It 
is gratifying to record that this excellent actor has become asso- 
ciated with a no less popular theatre in London— the Vaudeville. 
Here he made his first appearance on Saturday, August 16, 1879, 
in a comedietta by Richard Lee, entitled ' Home for Home,' and 
as Josiah Clench (the part originally played by Mr. W. Farren) 
in Byron's comedy ' Our Girls.' 

HOWSON, EMMA, was born in Hobart Town, Tasmania. She 
is a daughter of the late Frank Howson,* and niece of Madame 
Albertazzi (Emma Howson), who some forty years ago was a 
favourite mezzo-soprano singer at Her Majesty's Theatre; sister 
also of the under-mentioned John Howson. As a child, Miss How- 
son was possessed of considerable musical ability, which developed 
under her father's instruction. At an early age she sang in concerts 
in Australia in conjunction with him and her brothers. She made 
her first appearance in English opera, June 1866, at Maguire's 
Academy of Music, San Francisco, as Amina in ' La Sonnambula.' 
After playing several successful engagements in California and 
other cities on the Central Pacific Railway route to the Eastern 
States {see HOWSON, John), Miss Howson made her dibut in New 
York in 1869 in the opera of 'Maritana' at Fiske's Opera House. 
A twelve months' season followed with the Riching's " Enghsh 
Opera Combination." Subsequently Miss Howson entered into a 
contract with Mr. C. D. Hess to play in English opera, and visited 
all the principal cities of the United States and Canada, playing 
the prima donna rSles in ' Maritana,' ' Fra Diavolo,' ' Bohemian 
Girl,' 'Martha,' ' Oberon,' 'The Marriage of Figaro,' ' Der Frey- 
schutz,' and ' Trovatore.' At Niblo's Theatre, New York, she acted 
the character of Eily O'Connor in ' The Colleen Bawn.' At the end 
of 1873 Miss Howson left the United States for Europe, and went 
to Milan to study the Italian repertory and language under Signer 
Lamperti. In March 1875 she made her ddbut in Italian opera at 
the Teatro Manoel, Malta, in the part oi Amina (' La Sonnambula'). 
Afterwards Miss Howson appeared at the same theatre in ' Martha,' 
and during the season sang in these two operas. In the autunm of 
the same year she went to Leghorn, and sang there in Meyerbeer's 
'Dinorah' with considerable success. In the beginning of 1876 
she accepted an engagement for a provincial tour in England in 
Italian opera, during which she performed the prima donna rdles 
in ' Le Nozze di Figaro,' ' Lucia di Lammermoor,' 'Rigoletto.,' 'Don 
Giovanni,' ' Maritana,' ' Der Freyschutz,' ' Las Huguenots.' Her 
various performances were very favourably noticed in the local 

* Mr. Frank Howson was a baritone vocalist of no inconsiderable local 
reputation, who left England in 1S42 for the Australian colonies, where 
he engaged in theatrical pursuits. He was the first to present complete 
English and ItaUan operas to an Australian public. He acted as stage- 
manager to Madame Anna Bishop and the gifted Catherine Hayes, and 
other ctlebrities who visited Australia many years ago. He died at 
Omaha, Nebraska, U.S.A., September 16, 1869. 


press. Miss Howson made her dibut on the London stage at the 
Opdra Comique, on Saturday, May 25, 1878, as Josephine, first 
performance of ' H.M.S. Pinafore,' comic opera, by MM. W. S. 
Gilbert and Arthur Sullivan, her "clear and pure soprano voice, 
and refined and unaffected style, rendering full effect to the music 
of her part" {Daily News, May 27, 1878). In this opera Miss 
Emma Howson appeared from the date of its first performance 
down to April 1879. She subsequently went to New York to appear 
in the same role. 

HOWSON, JOHN, was born in Hobart Town, Tasmania, 
November 17, 1844, and is second son of the late Frank Howson 
and brother of the above-named Emma Howson. He first ap- 
peared on the stage as a lad at the Royal Victoria Theatre, Sydney, 
N.S.W., under his father's auspices. During the period of the gold 
fever in Australia, and the engagement of Catherine Hayes, he 
sang in the chorus in ' La Sonnambula ' at the same theatre. After 
various fortune incidental to colonial life, " serving for a time in a 
lawyer's office, then a ship chandler's, afterwards, for two years, as 
assistant to a fashionable dancing master, devoting spare hours to 
education, the study of music, and practice of the violin," John 
Howson formed, in conjunction with other members of his family, a 
concert company to visit "the Diggings," Ballarat, Victoria, &c. 
Of this organization he was the principal violinist and "general 
utility" man. In 1865, at Brisbane, Queensland, "tasting the 
sweets of applause in a burlesque character, that of Phineas in 
' Perseus and Andromeda,' " he decided on adopting the stage as a 
profession. In March 1866 he left Australia with his family for 
San Francisco. Touching at Tahiti, Society Islands, the Howsons 
gave two concerts under the patronage of Queen Pomare and other 
notabihties. Mr. Howson was for three years resident in San 
Francisco, appearing at the theatre in the " usual round of comedy 
and character business." In May 1869, en route to the Eastern 
States, he played the part of General Boom in ' La Grande Duchesse ' 
at the theatre Great Salt Lake City — " a piece which the Prophet 
and President, Brigham Young, witnessed on three consecutive 
nights." Mr. John Howson made his first appearance on the New 
York stage in November 1869, at Wood's Museum, as Upton Spout 
in the old Adelphi farce 'The Pretty Horsebreaker,' and as the 
Widow Twankay in H. J. Byron's burlesque of 'Aladdin.' He 
was for a time a member of the company of Booth's Theatre, and 
in the orchestra of the Grand Opera House as violinist. During 
the season of 187 1-3 he was first comedian of a travelling company 
(Mr. Mark Smith's) in the United States, playing such parts as 
Doctor Ollapod, Bob Acres, Mark Meddle, Zekiel Homespun, &c. 
At the Varieties Theatre, New Orleans, he was engaged in the 
earlier part of 1872 "in the useful capacity of second comedian 
and character actor," supporting the leading " stars " of the American 
stage — MM. Joseph Jefferson, John E. Owens, Lawrence Barrett, 
&c. In the season of 1872-3 he travelled in the United States 
with a Musical, Drama, and Opera Bouffe Company ; Characters : 


Sergeant Scalade in Buckstone's version of ' The Child of the 
Regiment'; Mons. Choufleuri in Offenbach's operetta of that 
name ; Princess Vindicta in the burlesque of ' Fortunio.' From 
1873 to 1877 Mr. Howson was engaged in various theatrical enter- 
prises in the United States which were more or less successful. He 
first appeared on the English stage at Brighton, September 3, 1877, 
in ' La Creole,' as Commodore Patatras, and made his debut in 
London at the Folly Theatre, Saturday, September 15 of the same 
year, in the same character. " In Mr. John Howson, who made his 
first appearance in London as the Commodore Patatras, a capital 
comedian has been discovered, and a comedian distinct and apart 
from the conventional pattern. He does not struggle to be funny — 
he is funny. He does not struggle to get his effects — they come 
of themselves. Mr. Howson had clearly sketched out in his own 
mind the character of the noisy, blustering, determined old gentle- 
man who conceals beneath his autocratic manner a good heart and 
a kindly disposition, and he produced, without the slightest effort, 
all the fun of which the character was capable, particularly at that 
notable point where the martinet at the very highest point of his 
tyranny is continually summoned away to be bulhed by somebody 
else [Mr. Howson's] was a comedy success." {Daily Tele- 
graph, September 17, 1877.) In February 1878, first performance 
at the same theatre of Reece and Farnie's version of ' Les Cloches 
de Corneville,' he acted the Marquis. Easter Monday of the same 
year, at the Prince of Wales's Theatre, Liverpool, he appeared as 
Gaspard in the same piece, playing the role at several theatres in 
the provinces. He is now (July 1879) appearing in his "original" 
(as far as the English version is concerned) part of the Marquis 
at the Globe Theatre, London. " Mr. John Howson is a genuine 
artist, and one of the best actors that have for some time appeared 
on our stage. He has a good voice and delivery, sings well and in 
tune, acts to perfection, and lives in his parts in a way that gives 
them reality and strength of no common degree." {Echo, Novem- 
ber 24, 1877.) 

the daughter of John Hudspeth, an actor who was for a long time 
connected with the old Queen's (now Prince of Wales's) Theatre. 
Her first London appearance was at the Lyceum Theatre, Novem- 
ber 28, 1859, as Madeline Champi in 'Paris and Pleasure.' Since 
then she has played in all the principal theatres in London and in 
the provinces. 



* ILLINGTON, MARIE, made her dibut at the Haymarket 
Theatre in the comedy of ' Red Tape ' in the autumn of 1875. 
Subsequently, at the Theatre Royal, Edinburgh, she played many 
light comedy parts until, attracting the notice of Mr. Walter 
Gooch, she was engaged to appear at the Princess's Theatre in 
London. In the play of ' Guinea Gold,' which was produced there 
September 10, 1877, she sustained an important part. She also 
appeared in the play of ' Jane Shore ' at the same theatre. During 
the indisposition of Miss Heath she took the place of that lady in 
the principal character at very short notice. In the summer of 
1878 Miss lUington went to the Vaudeville, where she acted the 
part of Mary Melrose in ' Our Boys.' She was in the original cast 
of Byron's comedy of 'The Girls,' produced April 19, 1879, a^nd has 
since appeared as Lottie in a revival of Albery's ' Two Roses ' at 
the same theatre. 

INGRAM, ALICE (Mrs. J. R. Crauford), daughter of Mr. 
F. Haywell, liegan her theatrical career at the T. R. Birmingham, 
and afterwards held engagements at the Tyne Theatre, at Notting- 
ham, and the T. R. Dublin, playing (among numerous other parts) 
Mary IVurget with Charles Mathews, .and the Duchess Francesca 
in ' The Fool's Revenge ' with Mr. Phelps. She then joined for a 
short time Captain Disney Roebuck's company, and afterwards 
the ' Caste ' company with Mr. F. Younge, playing the principal 
parts in Mr. T. Robertson's pieces — Esther Eccles, Bella, Amanda 
(in ' Play '), Ruth Daybrooke, Blanche Haye, &c. Her engagement 
with the ' Caste ' company was continued under Mr. R. Younge, 
with whom she made a successful appearance at the Charing Cross 
Theatre as Milly Petworth in ' Time's Triumph.' Her subsequent 
engagements have been at the Prince's, Manchester {Helen in ' The 
Hunchback") ; at the Gaiety, Dublin {Edith in ' On the Jury' with 
Mr. Phelps) ; as Titania for a run of five weeks at the T. R. 
Birmingham ; at Plymouth ; the Prince of Wales's, Birmingham ; 
the Prince of Wales's, Liverpool ; and the T. R. Manchester; on 
tour with Mr. C. Wyndham (as Effie Remington in ' Brighton ') ; as 
Henriette in ' The Two Orphans ' company ; as The Fool in ' King 
Lear ' with Mr. Creswick at the Standard ; at the Corinthian 
Theatre, Calcutta, for a season of five months ; at Bristol as Eliza 
in 'After Dark'; at the opening of the new T. R. Cardiff, as 
Cynisca in 'Pygmalion and Galatea'; and several engagements at 
the Alexandra, Liverpool, as Pauline in ' The Lady of Lyons,' Olivia 
in 'Twelfth Night,' and as Helen Macgregor. Miss Ingram has 
also appeared for short engagements at the Crystal Palace, St. 
James's, the Court, and Gaiety Theatres in London ; and lately 
with Mr. Sothern on tour, as Florence in ' Our American Cousin,' 
and Carrie Gresham in ' A Hornet's Nest.' 


IRISH, FRED. WILLIAM, was born in Leicester, 1835, and 
entered the dramatic profession in 1853, appearing first at the 
Theatre Royal, Leicester, as Marcellus in ' Hamlet.' After a short 
season there he went to Derby, and from thence to Nottingham, 
Sheffield, Blackburn, and Belfast, where he secured his first engage- 
ment as "principal low comedian." He remained in Liverpool for 
six years, acting principal low-comedy parts, and then accepted an 
engagement at Newcastle-upon-Tyne in 1867-8, and acted a leading 
part on the occasion of the opening night of the new Tyne Theatre. 
Mr. Irish made his first appearance on the London stage, March 2, 

1871, at the Holborn Theatre under Mr. Sefton Parry's manage- 
ment, in the character of Dan in ' The Streets of London.' He has 
since been engaged at the following London theatres : Alhambra, 
Lyceum, Queen's, Astley'g, Charing Cross, Mirror, Princess's, Drury 
Lane, and Haymarket, and also at the Crystal and Alexandra 
Palaces. At the Lyceum, under Mr. Bateman's management, April 

1872, he played the part of Sam in 'Raising the Wind.' In 
December 1874 he undertook the part of Widow Mustapha in 
' Aladdin ' at the Charing Cross Theatre, and played it with a 
decided flow of unexaggerated and original humour. 

IRVING, JOHN HENRY BRODRIB, was born at Keinton, 
near Glastonbury, Somersetshire, February 6, 1838, and educated at 
a private school in London. He was originally intended for mer- 
cantile life, and passed some few months in the office of an East 
India merchant; but having exhibited a strong partiality for a 
dramatic career, early forsook commerce for the stage, with which 
he became professionally connected in 1856. He made his first 
appearance on the stage that year at the Lyceum Theatre, Sunder- 
land, in the part of Orleans in ' Richelieu.' Afterwards, at the 
same theatre, he undertook the part of CUomenes in a revival of 
' A Winter's Tale.' Neither of these performances were alto- 
gether satisfactory, and subjected Mr. Irving to unfavourable criti- 
cism in the local press. Henceforward he earnestly devoted 
himself to the study of dramatic art. In 1857 he was fortunate 
enough to secure an engagement at the Theatre Royal, Edinburgh, 
where he remained for two and a half years ; and during their 
several " starring " tours had the advantage of acting with such 
admirable artists as Miss Cushman, Miss Helen Faucit, Messrs. 
Vandenhoff, Robson, Charles Mathews the younger, Benjamin 
Webster, and Wright. In 1859 Mr. Irving entered upon a brief 
engagement at the Princess's Theatre, London, then under the 
management of the late Mr. Augustus Harris; but this engagement 
being cancelled, he shortly afterwards became attached to the late 
Mr. Edmund Glover's company at Manchester. In this city, for 
the first time in his professional career, he essayed the character of 
Hamlet. In 1866, ten years after he had first adopted the stage as 
a profession, he made his appearance as an actor of recognized 
merit at the St. James's Theatre in London. On Saturday, October 6 
of that year, he played there Doricourt in a revival of 'The 
Belle's Stratagem ' (Mrs, Cowley), " his mad scenes being truthfully 

iKl/nvu, JOHN HENRY B ROD RIB. 193 

conceived and most subtilely t-yxcvXtA" {^Athenaum, October 13, 
1866). In the following November, at the same theatre, first per- 
formance in London of Dion Boucicault's drama ' Hunted Down,' 
he acted the part of Rawdon Scudamore with considerable success. 
In 1867, on Saturday, February 9, at the same theatre, he under- 
took the character.of Harry Dornton in a revival of ' The Road to 
Ruin ' ; and, in the succeeding April, the part of Count Falcon in 
a drama entitled ' Idalia.' In January 1868, at the New Queen's 
Theatre, London, first performance of Mr. H. J. Byron's play 
' Dearer than Life,' he sustained the character of Bob Gassitt — " a 
most ungrateful part, acted with scrupulous care and artistic taste " 
(Standard, January 9, 1868). At Drury Lane Theatre, August 5, 
1869, Mr. Irving played Compton Kerr on the occasion of the first 
performance of Boucicault's drama 'Formosa'; and in 1870, 
Saturday, June 4, first performance at the Vaudeville Theatre of 
Mr. Albery's play ' Two Roses,' he performed the part of Digby 
Grant, the impersonation being so original in conception and so 
masterly in execution as to entitle the actor to take rank among 
the very best actors on the London stage. " The selfish arrogance, 
the stuck-up hauteur, the transparent hypocrisy, and the utter 
heartlessness of the character, made all the more odious from the 
assuinption of sanctity, were depicted by Mr. Irving with exquisite 
truthfulness of detail, and admirable brilliancy and vigour of 
general effect. His make-up for the part was excellent, and his 
whole performance spirited, characteristic, and life-like " {Morning- 
Post, June 6, 1870). 

In 1 87 1 Mr. Irving accepted an engagement at the Lyceum 
Theatre, under the management of the late H. L. Bateman ; and 
on Monday, September ii, "opened" there as Landry, in a piece 
entitled 'Fanchette; or, the Will o' the Wisp.' On Monday, 
October 23 of the same year, he appeared as Jingle in a dramatic 
version of ' Pickwick,' by Mr. Albery. In the November following, 
' The Bells,' a version by Mr. Leopold Lewis of MM. Erckmann- 
Chatrian's ' Le Juif Polonais,' was first performed at the Lyceum 
Theatre. In this drama Mr. Irving undertook the character of 
Mathias, as to which the Times (November 25, 187 1) remarked: — 
" It will be obvious to every reader that the efficiency of this 
singular play depends almost wholly upon the actor who represents 
Mathias. . . . Mr. Irving has thrown the whole force of his mind 
into the character, and works out bit by bit the concluding hours 
of a life passed in a constant effort to preserve a cheerful exteripr, 
with a conscience tortured till it has become a monomania. It is 
a marked peculiarity of the moral position of Mathias that he has 
no confidant, that he is not subjected to the extortions of some 
mercenary wretch who would profit by his knowledge. He is at 
once in two worlds, between which there is no link — an outer world 
that is ever smiling, an inner world which is a purgatory. Hence 
a dreaminess in his manner which Mr. Irving accurately represents 
in his frequent transitions from a display of the domestic affections 
to the fearful work of self-communion. In the dream his position 
is changed. The outer world is gone, and conscience is all 



triumphant, assisted by an imagination which violently brings 
together the anticipated terrors of a criminal court and the mes- 
meric feats he has recently witnessed. The struggles of the miser- 
able culprit, convinced that all is lost, but desperately fighting 
against hope, rebelling against the judges, protesting against the 
clairvoyant who wrings his secret from him, are depicted by Mr. 
Irving with a degree of energy that, fully realizing the horror of the 
situation, seems to hold the audience in suspense. It was not till 
the curtain fell, and they summoned the actor before it with a 
storm of acclamation, that they seemed to recover their self- 
possession." On Monday, April i, 1872, in a revival of the farce 
of ' Raising the Wind,' Mr. Irving played the character of Jeremy 
Diddler J and the same year, Saturday, September 28, ' Charles 
the First ' (W. G. Wills) was first performed at the Lyceum, in 
which he- sustained the leading role. "Through 'Charles I.' runs 
a melancholy beauty which finds expression in many musical 
passages, and which intensifies, as the play proceeds, into absolute 
pain. During the last act there was scarcely a dry eye in the 
house. Women sobbed openly, and even men showed an emotion 
which comported ill with the habitual serenity of the stalls. Much of 
this uncomfortable gratification was due to the acting of Mr. Irving, 
the hero of the play, who has once more created a great rdle. In 
intensity of suggestiveness his Charles I. will compare with his 
Mathias, while in breadth, dignity, and harmonious colour it sur- 
passes it. . . . Nothing more regal can be desired than his bear- 
ing, nothing more harmonious than the effect of every look and 
gesture, nothing more touching than his delivery of the .poetic 
beauties that abound. From the outward appearance of the king 
(he might be an incarnate portrait of Vandyke) down to each little 
detail of posture, everything is elaborated with conscientious care, 
and the result is a vivid creation of art." (Daily News, September 
30, 1872.) 'Charles the First' was so great a success that it was 
performed during nearly seven months. 

In April 1873 another of Mr. Wills's plays was undertaken by 
Mr. Irving, 'The Fate of Eugene Aram.' In this again a remark- 
able piece of acting was exhibited. Said the Spectator (April 19, 
1873) : — "The acting of Mr. Irving in this character is wonderfully 
fine, so deeply impressive that once only, by a bit of 'business' with 
lights and a looking-glass, quite unworthy of the play and of him, 
does he remind one that he is acting and not living through that 
mortal struggle ; so various that to lose sight of his face for a 
moment is to lose some expression full of power and of fidelity to 
the pervading motive of the part. ... In the second act the 
anguish of his mind is intensified with every moment, until in the 
sudden outburst of his fury, his defiance of Houseman, his proud 
boast of his character in the place and the influence of it, the 
change, fierce yet subtle, from sad and dreamy quiet to the hard, 
scoffing, worldly wisdom of the criminal at bay before his accom- 
plice, there is a positive relief for him and for ourselves. Then 
conies the terror, abject indeed for a while, with desperate, breath- 
less rally, thick incoherent speech, faiUng limbs, ghastly face, dry 


lips and choking throat, as dreadful as only fear can be, and 
horribly true. ... In the concluding scenes, one, in which he 
sends Houseman flying from the churchyard, appalled at the sight 
of his suffering ; a second, in which, in accents of heartrending 
grief and contrition, he implores Heaven for a sign of pardon, and 
flings himself down by a cross, with an awful face, the white, mute 
impersonation of mental despair and physical exhaustion ; and a 
third, in which he makes confession to Ruth and dies — the play of 
his features, the variety and intensity of his expression are most 
remarkable." On the 27th September, 1873, 'Richelieu' was pro- 
duced at the Lyceum, Mr. Irving sustaining the part of the 
Cardinal. " Those who are familiar with the portrait of the 
Cardinal must be at once struck by its presentation in a living 
form when Mr. Irving makes his first appearance. ... His 
defence of Julie de Mortemar when the minions of the king would 
snatch her from his arms, the weight of sacerdotal authority with 
which he threatens to 'launch the curse of Rome,' his self-trans- 
formation into the semblance of a Hebrew prophet of the olden 
time, with whom imprecations were deeds, combine together to 
produce a most astounding effect. Here is tragic acting in the 
grandest style, and it will be borne in mind that although ' Riche- 
lieu ' is not a tragedy, it belongs practically to the tragical category, 
as none can do justice to it but a tragedian. Before the effect of 
the fulmination was subsided came the well-known lines — 

' Walk blindfold on — behind thee stalks the headsman. 
Ha ! ha ! how pale he is ! Heaven save my country ! ' 

The scornful laugh by which the flow of indignation is checked, 
and which was a great point with Mr. Macready, had told with 
surprising force, and when the Cardinal had fallen back exhausted 
.... the old-fashioned excitement which we associate with the 
days of Edmund Kean and his ' wolves ' was manifested once more 
in all its pristine force. Enthusiastic shouts of approbation came 
from every part of the house. The pit not only rose, but made its 
rising conspicuous by the waving of countless hats and handker- 
chiefs. Not bare approval but hearty sympathy was denoted by 
this extraordinary demonstration ; and this sympathy nothing but 
genius and thoroughly self-abandonment on the part of the artist 
could have produced." {Times, September 30, 1873.) 

On Saturday, February 7, 1874, Mr. Irving played Philip in a 
romantic drama of that title from the pen of Mr. Hamilton Aidd. 
In the autumn of the same year ' Hamlet ' was placed on the 
Lyceum stage, and created a curiosity to witness Mr. Irving's im- 
personation of the character altogether remarkable. The play had 
the unprecedented run of two hundred nights— not only unpre- 
cedented, but unapproached in the history of Shakespearian re- 
vival. He continued to perform the part from October 30, 1874, to 
June 29, 1875. "Mr. Irving's Hamlet is original throughout. It 
is more than probable that he has never seen any predecessor of 
extraordinary eminence enact the part. At all events, it is certain 

O 2 


that the Hamlet in the play-book has been reahzed by Mr. Irving' 
upon the stage without passing through any medium but that of 
his own thought. . . . The learned will turn over their books to 
discover what was done by Betterton, what by Kemble, what by 
Charles Young; but their studies will avail them nothing tovvards 
an estimate of Mr. Irving, who stands aloof from the pedigree 
beginning with Betterton and ending with Charles Kean. . . . 
Why then is Hamlet so irresolute? ... If we rightly interpret 
Mr. Irving's performance his reply to the question is to the effect 
that the nature of Hamlet is essentially tender, loving, and merciful. 
He is not a weak man called upon to do something beyond his. 
powers, but he is a kindly man urged to do a deed which, accord- 
ing to the lex talionis, may be righteous, but which is yet cruel. 
. . . There is a theory to the effect that Hamlet, while assuming 
madness, is really somewhat insane. From this theory we entirely 
dissent, at the same time admitting that his sensitive nature sub- 
jects him to the highest degree of nervous excitement. This could 
not be more clearly expressed than by Mr. Irving. . . . Most 
powerfully is the nervous condition exhibited in the scene with 
Ophelia. The pretended madness, the unquenchable love, and the 
desire to utter stern truths seemed to hustle against each other. 
The words seemed to be flung about at random, and the facial 
movements correspond to the recklessness of the words. The 
storm of applause which followed this display of genius denoted 
not only admiration but wonder.'' (Times, Nbvember 2, 1874.) 
Concerning this performance of ' Hamlet,' a writer in the Dublin 
University Magazine of September 1877 thus remarked upon the 
excitement its announcement produced : — " Mr. Irving's Hamlet 
was not the essay of a tyro, but the culminating point of a career 
in which genius and arduous study had marked every stride. As 
early as three o'clock in the afternoon of the 31st of October the 
crowd began to form at the pit door of the Lyceum, and soon a 
struggling, seething mass of human beings extended down the 
covered way right out into the Strand. The pit that night was a 
memorable spectacle. Never had that tribunal been so highly 
charged with anxiety, impatience, and enthusiasm. The entire 
audience was an extraordinary assemblage, for the fact that Mr. 
Irving had set his reputation on a cast which was also to decide 
whether the times were indeed too degenerate for Shakespeare to 
be popular, had brought most of the representatives of art and 
letters to witness the hazard of the die. The actor's welcome was 
an outburst of unfeigned admiration of the courage with which he 
was about to grapple with the most difficult and exacting of Shake- 
spearian creations. But for a time the novelty of the conception 
and the absolute independence of familiar traditions bewildered the 
audience. This sad and self-distrustful Hatnlet, who gave natural 
and constant expression to his thoughts as they occurred to him, 
instead of delivering a number of unnatural ' points ' like stones 
from a catapult excited a growing interest ; but two acts had 
almost passed before he began to be understood. It may be re- 
marked here as a striking trait of a conscientious artist, that after 


the scene with the Ghost, Mr. Irving came off the stage depressed 
not by the silence of the auditory, but by the thought that he had 
fallen below his ideal. But when the tender, sympathetic nature of 
this Hamlet fairly revealed itself, the affections of all were won. It 
was the most human Hamlet they had ever known. . . . The 
performance was now one long success .... and when the curtain 
fell upon the consummation of the tragedy the immense assembly 
clamoured its delight till nearly one o'clock in the morning." 

In June 1875 'Hamlet 'was erased from the Lyceum play-bills, 
and in the following September ' Macbeth ' was revived, Mr. Irving 
sustaining the principal role. T'hQ A thentsum (October 2, 1875), 
discussing the merits of the performance, said: — "In Mr. Irving's 
conception there is intention, but it is wrong ; and there are individual 
merits which will not compound for systematic error. This objec- 
tion, might, however, be vanquished in another part — might even 
be removed by further study and practice. Mr. Irving must learn, 
however, that his mannerisms have developed into evils so formid- 
able, they will, if not checked, end by ruining his career. His slow 
pronunciation and his indescribable elongation of syllables bring 
the whole occasionally near burlesque. In one speech, that in 
which Macbeth speaks of false Thanes gone to 'mingle with the 
English epicures,' absolute laughter was evoked, and a similar 
calamity was on another occasion scarcely avoided. Mr. Irving 
has youth, intelligence, ambition, zeal, and resolution. These things 
are sacrificed to vices of style which have strengthened with the 
actor's successes, and like all weeds of ill growth have obtained 
excessive development. It is impossible to preserve the music of 
Shakespeare if words of one syllable are to be stretched out to the 
length of five or six. Mr. Irving's future depends greatly on his 
mastery of this defect." 

The Daily News (September 27, 1875) found more to praise in 
the performance, according to the subjoined criticism : — " But the 
secret of the spell which this extraordinary actor exercises over the 
imaginations of audiences is not difficult to discover. It lies in 
the imaginative power with which he is able to depict the most 
terrible passions of the human soul in a great crisis 6f action, and 
in the wonderful expressiveness of countenance which on these 
occasions never deserts him. To the playgoer whose memory is 
haunted with the Macbeths of the past there is a peculiar pleasure 
in the total absence in all Mr. Irving's performances of mere con- 
ventional details. We believe it has always been customary in the 
dagger scene to confront the audience looking upwards, as if the 
imaginary weapon were hovering in the air somewhere between the 
performer and the audience. Mr. Irving, on the contrary, sees the 
dagger at a much lower point as he follows it across the stage, 
drawn as it were by its fascination towards the arched entrance to 
the chamber of the king — a fine point being his averted hands, as 
if the man, ' infirm of purpose,' and conscious of the spell that is 
around and about him, could not trust himself to ' clutch ' the airy 
weapon save in words. . . . The touches of tenderness and of 
regretful remorse, which add greatly to the beauty of these latter 


scenes, seemed indeed to miss some of their effect ; but the final 
combat and death struggle has probably never been equalled for 
picturesque force and intensity." 

In February 1876 'Othello' was revived at the Lyceum with 
Mr. Irving as the Moor. Probably this has been the least suc- 
cessful of Mr. Irving's impersonations, and was the subject of much 
unfavourable comment in the public press. It was conceded, how- 
ever, that there were powerful passages in Mr. Irving's acting, and 
that he had bestowed his usual careful study upon the representation 
which he gave. " To ask of one man to represent night after night 
for many weeks or months such characters as Hamlet, Macbeth, or 
Othello, is as to require of the English arniy to fight a battle of 
Waterloo every day. From Hamlet Mr. Irving proceeded, in- 
advisedly as, at the time, we thought, to Macbeth, and our antici- 
pations were before long justified by the public verdict. With still 
greater want of judgment, we fear, has he now attempted Othello, 
for which he either altogether lacks, or at least has failed as yet to 
exhibit, the qualifications which such a character demands. In his 
pathos he is monotonous without being tender, in his rage violent 
without being dignified, while his love for Desdemona has alto- 
gether to be taken on trust from the words that are put into his 
mouth. In many passages, moreover, and especially in the third 
act, where he demands from her slanderer some tangible proof of 
his wife's guilt, his violence is such as to render him almost ludi- 
crous, and altogether unintelligible. This latter fault is, indeed, 
most unhappily prominent throughout the performance. It has been 
said, and well said, that the great masterpieces of Shakespeare, 
even when most indifferently acted, cannot altogether fail to please, 
provided only the actors will suffer the audience to hear the words 
of the author. But from the mouth of Mr. Irving, unfortunately, 
we cannot hear them. In repose he is as much too slow of speech 
as in action he is too tumultuous, while in both he has of late 
acquired a peculiarity of pronunciation, for which, in all humility, 
we confess ourselves totally unable to conceive any authority. In 
his description to the Duke of the only arts he employed to gain 
Brabantio's daughter, and in that magnificent farewell to content, 
it is possible indeed to hear what is said ; but throughout the third 
and fourth acts we are denied even this consolation. Our eai's are 
stunned by an empty noise which only a knowledge of the text can 
possibly allow us to accept as the passionate outpourings of a noble 
mind overthrown in the keenest of all mortal anguish. In harmony 
with so much indeed, but how out of harmony witli Shakespeare's 
Othello are the actions and gestures in which Mr. Irving indulges ! 
The movements of his body are as the movements of his voice ; 
when slow, so slow as to excite the impatience— when quick, so 
quick as almost to excite the laughter— of the spectator. Once 
only did Mr. Irving appear to us to have caught the spirit of 
Othello— axidi Othello, be it remembered, is not, as Hamlet is a 
character of many and diverse readings ; there can be but one true 
Othello. As he sits writing at his table at the opening of the third 
act, and when lago first begins to pour the ' mixture rank ' into his 


too open ear, both in Mr. Irving's face and in his attitude, and very 
nearly in his voice, the first faint flushings of the dawn of jealousy 
are not unskilfully marked. Yet the dawn broadens into no perfect 
day, but rather into an indescribable chaos of painful and in- 
harmonious elements. In the torrent, tempest, and whirlwind of 
this passion there is no temperance, and so no smoothness. We 
can well remember, on the first night this actor played Hamlet, our 
admiration at the manner in which he delivered the famous counsel 
to the players ; as we sat the other night through the five acts of 
'Othello 'we could not but wonder whether Mr. Irving's memory 
was as good as ours. It would have been easier, and certainly far 
pleasanter, to have written in a more complimentary fashion, but 
we have felt it our duty to speak plainly. We can believe that 
three years ago Mr. Irving would have pleased us as Othello, but 
for the sake of Hamlet we are sorry he has attempted it now." 
{Times, February 17, 1876.) 

In a critical review of Mr, Irving's appearance as Othello in 
the Standard (February 11, 1876) the writer found somewhat to 
praise in it : — " And here Mr. Irving made one of those subtle points 
which add such remarkable strength to his impersonations. 'If 
more thou dost perceive, let me know more,' Othello says, and then 
' pauses. . . . He turns away that lago may not see his face, and 
speaks in a hasty whisper, ' Set on thy wife to observe. Leave me, 
lago.' . . . Suddenly Desdemona stands before him. As he looks 
at her his doubts disperse. . . . 

' If she be false, oh, then Heaven mocks itself ; 
I'll not believe it.' 

The utterance' of these last words was marvellously fine, and it 
would be difficult to describe the tremendous effect they had upon 
the audience. It is impossible to deny the power of an actor who 
by the delivery of three or four simple words can so deeply move 
the hearts of a crowded and certainly a critical house. . . . Another 
special success was made in the speech where, goaded to madness, 
he seizes lago by the throat, ' Villain, be sure thou prove.' . . . 
All that most perilous business of the trance, which must be fatal 
to any but an actor of very exceptional powers, was most skilfully 
managed, and the transitions of emotion during the scene with 
Desdemona, beginning, 'My lord, what is your will?' were in- 

igeniously traced in expression of voice and feature. . . . The 
conclusion of the tragedy may also be warmly commended. . . . 
The performance will add to the high reputation Mr. Irving has 
won, but it is gravely affected by the mannerisms of pronunciation, 
on which comment has been made." 

In April of the same year, ' Queen Mary,' an historical play in 
five acts, by Mr. Tennyson, was performed for the first time, Mr. 
Irving sustaining the part of Philip of Spain. This piece was but 
a partial success. " To Mr. Irving was assigned the small part of 
Philip, in which there is little to say but much to look. . . . This 
was indeed the very Philip — harsh, cold, satirical, of facile, unre- 

; lenting, and exquisite cruelty, His mannerisms apart — those 


unhappy mannerisms that have been spoken of already — not a 
touch was wanting to the completeness of the portrait. The play- 
goer should very specially mark the bitter and dry humour of every 
taunt and threat, the Spanish and kingly rigidity of physique to 
which the portraits of the time bear witness, the alertness and eager 
watchfulness of mind, the concentration of purpose, in the scene in 
which Philip broaches the question of the hand of Elizabeth. It 
is the most complete piece of ' character acting ' now on the stage." 
(Academy, April 22, 1876.) 

" Mr. Irving's stately, scornful, and frigid, but yet brutal Philip, 
is as faultless as we could well imagine it. It has been objected 
that he makes his disgust for the Queen too evident .... but that is 
evidently the self-deception of a mind too haughty and careless of 
others to be aware of the disgust which his language has really 
implied. ... As far as we can judge, it would have been im- 
possible for Mr. Irving to represent the poet's conception of Philip 
more perfectly than he has done." {Spectator, April 22, 1876.) In 
the autumn of 1876 Mr. Irving played Hamlet in the provinces, and 
his interpretation of the character was everywhere welcomed with 
acclamation. It was estimated that, during his stay at Manchester, 
nearly eighteen thousand persons visited the theatre at which he 
performed. In Scotland and Ireland his reception was no less 
gratifying. On November 29 an address was presented to him 
by the graduates and undergraduates of Trinity College, Dublin. 
"To the most careful students of Shakespeare," they said, "you 
have, by your scholarly and original interpretation, revealed new 
depths of meaning in Hamlet, and aroused in the minds of all a 
fresh interest in our highest poetry. . . . Acting such as yours 
ennobles and elevates the stage, and serves to restore it to its true 
function as a potent instrument for intellectual and moral culture. 
Throughout your too-brief engagement our stage has been a school 
of true art, a purifier of the passions, and a nurse of heroic senti- 
ments; you have even succeeded in commending it to the favour of 
a portion of society, large and justly influential, who usually hold 
aloof from the theatre." The last night of Mr. Irving's engagement 
in Dublin he played Hamlet in compliance with a " command " 
from Trinity College. 

In 1877, January 29, Shakespeare's 'Richard the Third' was 
placed on the Lyceum stage, Mr. Irving as Richard Duke of 
Gloucester. The Morning Post (January 30, 1877) thus alluded to 
the performance : — " There are, of course, blemishes as well as 
beauties in Mr. Henry Irving's impersonation of Richard III., but 
viewing it in its entirety — the only fair way of regarding any work 
of art on which a general opinion is to be pronounced — it is, we 
think, a fine performance, brilliant, energetic, impassioned, and full 
of life and character. . . . Mr. Irving would seem to have bestowed 
minute care upon his personal portrait of Richard, in which he 
reproduces not only the usurper's historic ungainliness of form 
and feature, but also such smaller singularities as the frequent 
twitching of the hands — a physical denotement of the restless spirit 
within. . . . The grim, sardonic humour of the poet, which has 


always been an element of enjoyment with the populace, is dis- 
tinctly marked in the present impersonation, though not so dis- 
tinctly as to become the most salient attribute of the character. 
Mr. Irving is very judicious in his delivery of the opening speech, 
' Now is the winter of our discontent,' &c., which as spoken by him 
does not sound like a set recital on studied philosophy, but rather 
resembles what the poet probably intended — the unconscious medi- 
tative utterances of a man thinking aloud while wrapt in a fit of 
profound abstraction. In the courting scene with Lady Anne .... 
Mr. Irving, unlike most of his predecessors in the part, represents 
Richard making love less with the bluntness of a soldier than with 
the tenderness and impressment of an impassioned suitor. . . . 
The scornful exultation with which, contemplating his triumph and 
finding in it a subject for egotistical congratulation, he utters the 
famous words, ' Was ever woman in this humour wooed ? was ever 
woman in this humour won?' provokes a shout of derisive applause. 
. . . The look of concentrated rage and hatred which he cast 
upon the ' parlous ' young prince, whose doom he foreshadows in the 
ominous reflection, ' So wise, they say, and so young, ne'er live 
long,' bespeaks the true character of the usurper more eloquently 
than could the most poignant words. . . . The apparition scene in 
the fourth act is exceedingly impressive, and in his representation 
of the mental anguish which RzcAard endares from the visitation of 
the shadows Mr. Irving depicts the terrors of a guilty conscience 
in appalling colours." 

, , In May of the same year Mr. Irving undertook the dual parts of 
Joseph Lesurques and Dubosc in the drama of ' The Lyons Mail,' 
rearranged by Mr. Charles Reade from ' Le Courier de Lyon.' 
" The difficulties in the way of the adequate representation of two 
Such characters as those of Lesurques and Dubosc are, as will 
easily be understood, extremely severe, but they are managed by 
Mr. Irving with consummate art. . . . Not only in voice, but in 
expression, in bearing and in gesture, Dubosc and Lesurques are 
two people, the latter courteous, suave and gentle in manner, 
tenderly affectionate to his daughter and pleasantly at ease with his 
friends ; the former a swaggering ruffian, clumsy and abrupt in 
action, husky and coarse in voice. The most remarkable feature 
in the assumption is the final scene in the first floor of a cabaret 
overlooking the place of execution. Dubosc is inflamed by drink, 
excitement, and the prospect of the sight he is to see, into a state 
of absolute madness ; his attack on Fouinard is simply an out- 
break of the savagery of a wild beast, and after the brutal fury 
comes despairing terror to find himself tracked, and furious rage 
against his betrayers. Passion convulses his limbs and distorts 
his features ; yet scarcely more than ten seconds after Dubosc 
has rushed behind the opening door Lesurques enters, calm and 
collected and utterly free from any trace of excitement. . . . The 
word marvellous is certainly not too strong to describe the command 
of feature and demeanoilr which enables him thus to change his 
identity, to say nothing of dress, in such a space of time." 
{Standard, May 20, 1877.) 


In 1878 (March 9) Mr. Irving appeared for the first time as 
Louis XL, in a version of M. Casimir Delavigne's play of that 
title by Boucicault. It was the opinion of the Saturday Review 
(March 16, 1878) that the part might very well have been written 
for Mr. Irving, who had seldom presented a performance with 
which there was less opportunity of finding fault. In saying this, 
the Saturday Review did not mean that in Louis XL Mr. Irving 
had reached a height which he had not attained before. " On 
the contrary, the character affords no kind of opportunity for the 
display of that fiery passion and force of inspiration which have 
asserted themselves sometimes in performances in which on other 
grounds there has been something to blame. The part oi Louis XL. 
never rises to grandeur ; it rests on a dead level of hypocrisy, mean- 
ness, and craftiness, which the dramatist has been at no pains to 
diversify, except by touches of grim humour. He has represented 
only one side of Louis's character, and has given no hint of the 
qualities which enabled him to hold other countries besides his 
own in his grasp ; and it is the actor's merit, not the author's, that 
the Louis whom we see has about him an intangible and mysterious 
fascination which makes it possible to reconcile the low tone of his 
speeches and deeds with the gift for government which he must 
have had. . . . Mr. Irving's appearance was a first sign of the 
study which he had bestowed on the part. He had managed 
somehow to disguise his height, and his face indicated the singular 
mixture of ferocity, cunning, and grotesque sense of the ludicrous 
which, in the first part of the play, marks Louis's character. . . . 
His worming out of Marie's secret knowledge of the identity of 
Nemours with Rethel was intensely true to nature, and his delight 
at finding Nemours within his grasp was most effectively con- 
trasted with his order for the Court to wear mourning for a week 
for the Duke of Burgundy. Here Mr. Irving brought out with rare 
skill the characteristic appreciation on the King's part of the grim 
wit of his own proceedings to which he throughout gives promi- 
nence. ... As a piece of complete mastery of the science of acting 
in gesture and expression, Mr. Irving's recognition of Nemours' 
threatening figure, which he sees as he sinks down into his chair, 
was especially remarkable. The convulsive but restrained grasping 
of the chair, the look of dumb horror, the low thrilling cry of 
'Merciful God!' led finely up to the more noisy and abandoned 
expressions of terror with which the interview closes, and to the 
half-insane reaction of violence at the end of the act." 

We cannot resist adding here, even at the risk of trying the 
reader's patience, extracts from an able and thoughtful piece of 
criticism of Mr. Irving's performance in the same character, 
published in the Liverpool Daily Post (September 17, 1878) : 
" The Louis XL of Mr. Irving will probably be regarded here- 
after as his most distinctive masterpiece," remarks the writer. 
"The play of Casimir Delavigne, as adapted into EngUsh blank 
verse for Mr. Charles Kean by Mr. Dion Boucicault, gives the 
actor no wings with which to soar. The play is a commonplace 
and somewhat meagre sketch, crudely outlined, not always with 


strict conformity to nature, from the traces left by Comines and 
worked up by Scott and Victor Hugo. But within this bare outline 
what a marvellous work of creative art has been elaborated by Mr. 
Irving — bold in conception, strong in light and shade, and filled in 
with details of infinite nicety and variety! Naturally, the first 
question that will be asked is how the representation compares 
with that of Charles Kean, which must be vividly remembered 
by all who saw it. The answer is, that while as remarkable as 
Mr. Kean's Louis for the vivid strength and truth of its general 
conception, Mr. Irving's is more delicately and minutely wrought, 
and the general features of Louis have with greater care and close- 
ness of observation been associated with a life-like assumption of 
increasing senility. But besides this it must be recorded that the 
last act is vastly superior to anything that it entered into the mind 
of Charles Kean to effect. If there is any point in which the latest 
English Louis XI. is inferior to the first, it is in the abject pleading 
to Nemours for life, to which Mr. Kean's peculiar power of rapid 
and impetuous utterance gave thrilling effect. There is no other 
point at which Mr. Irving must yield the palm. It was, indeed, 
suggested by certain of the London critics that the incident of 
Louis suddenly praying to the images of the saints stuck in his hat, 
when interrupted in his directions for the murder of Nemours by 
the sound of the Angelas, was spoilt by Mr. Irving's appearance of 
grimacing insincerity. Remembering well, and with admiration, 
the intense and superstitious fetishism with which Mr. Kean .en- 
acted this episode, we awaited with some curiosity Mr. Irving's 
treatment of it. The London critics seem to have grossly mistaken 
him at this juncture. He is just as devout and intense as was Mr. 
Kean. What these writers took for ironic antics are really earnest 
movements of the head such as a very superstitious old man would 
make in such a situation. It is only one instance among many 
in this play in which Mr. Irving uncompromisingly realizes what 
the King must have been in his ill-favoured old age, according 
to the abundant accounts of him which we possess, and which 
distinguished novelists have used with great power. Mr. Irving 
has preferred to follow Victor Hugo rather than Sir Walter Scott. 
His Louis is a shambling, ill-held-together, down-at-heel old man, 
whose attitudes are never gainly and mostly mean ; who slips down 
miserably with hollowed stomach into the seat of a throne during a 
critical diplomatic interview, and warms himself squalidly over the 
fire on a low stool ; who, in fact, never thinks of appearances, and 
never chances to become an agreeable picture. A close skull-cap 
helps Mr. Irving to assume an aspect of ill-conditioned age, which 
is supported by a wonderful make-up of the face, while a con- 
temptible and at the same time contemptuous gait and many rude 
and uncanny gestures and grins complete the study, which, as soon 
as the actor speaks, is imbued with absolute life and being. This 
Louis XL is as individual to every spectator who saw him as ever 
was any human being who was known to his fellow-creatures by 
.his ways and his talk. 

*' Louis does not appear in the first act, which, indeed, is dull and 


uninteresting. In the second act are illustrated the violence of the 
old king's rage, tempered by his fear of his doctor; his prompt and 
ever wily cunning; his readiness to use sentiment, and to throw- 
it cynically aside; his remorseless cruelty and faithlessness, and 
many other execrable points of his character. Mr. Irving manages 
. all the contrasts and transitions with great art, taking for his guide 
a clear idea of the character, and developing its many oddly- 
assorted peculiarities by telling changes of voice and manner. 
The sudden ' There, that'll do ; sit down,' after the Dauphin has 
just burst forth into patriotic defiance of Burgundy, and the King 
has caressed him as the child of France, must be heard to be 
appreciated, and it is only one of many illustrations of Mr. Irving's 
success in realizing the King^s cynical humour. The third art 
introduces the episode of the peasants, in which, of course, the 
actor revels, for Louis's varied reception of the supposed sincerities 
of the rustics affords not a little scope. Equally characteristic is 
the manner in which the old fox elicits from Marie de Comines the 
name of her lover, and the fact that the Burgundian envoy is 
Nemours. Act the fourth is far more onerous. Here the King 
is seen in the solitude of his bed-chamber. Here takes place 
his extraordinary confession to Frangois de Paule, delivered with 
great effect in all its blood-chilling frankness and incorrigible im- 
penitence. And here, when the holy father has retired, the monarch 
is suddenly frozen into abject terror by the appearance of the 
avenging Nemours. A terrible scene ensues — first of wild pleading 
for mercy, and then, when Nemours has with contempt and loath- 
ing granted the king his life, a fearful paroxysm of rage and 
hallucination, as the old man, suddenly young again with desperate 
excitement, rushes up to what he supposes to be the Due de 
Nemours, and violently stabs the air until he falls fainting into 
the arms of those around him — a situation of great power most 
startlingly enacted. Great as the performance is in every phase, 
it is grandest in the fifth act, where King Louis enters robed and 
sceptred, with death written in his countenance, and his physique 
reduced to the lowest stage of feebleness. The skull-cap has been 
abandoned. Long grey locks stream somewhat wildly on the 
King''s shoulders. His countenance derives a sort of dignity, not 
seen before, from these changes — though such a figure can never 
be truly venerable — and also from the absorbing nature of the 
conflict which Louis wages with visibly declining powers. In this 
hour of extreme mental exhaustion, deepening momentarily into 
actual stupefaction and afterwards into coma and then into death, 
the extraordinary resolution and will of the King still display 
marvellous power. But never was there such a picture of moving 
prostration and animated decay. The back of a couch lost hold of 
for a moment, and the tottering form stumbles forward in a manner 
which sends a painful start through the whole audience. The 
sceptre drops, after being used head downwards as a staff, and 
is forgotten. Then the King is induced to be seated on a couch, 
and with extraordinary elaborated graduations of insensibility, 
violently interrupted occasionally by spasms of vigour, he gradually 


loses his consciousness. No physical detail is neglected that can 
help to realize a sinking of mind and body into annihilating death. 
The voice and articulation have the weird, half-drunken thickness 
of paralysis. Even the effect observable in age and sickness of 
drawing the retreating lips in over the sunken teeth is somewhat 
simulated. The difficulty of carrying out such a conception of 
dissolution in a scene in the course of which such matters have 
to be dealt with as the final sentence of Nemours, and an interview 
with Coitier, the leech, who comes from a dungeon with the rust of 
fetters on his wrist, at the summons of the King who sent him 
there, must be extreme; but Mr. Irving triumphantly surmounts 
it, and gives a picture of gradual and placid yet horrible death 
such as we believe has never been achieved before. Perhaps the 
greatest success of all is the still and silent impassibility into which 
the King sinks so absolutely that the courtiers and his son suppose 
it to be death. The actual death is not placid. The King 
struggles on his feet, and falls forward on a cushion, with his head 
toward the audience, as the low murmur, ' The King is dead, long 
live the King,' proclaims the close of the long, long struggle of a 
mind that seemed indomitable with the frailties and tortures of 
a body racked for years with the worst tortures to which humanity 
can be a prey, and consoled by none of the assuagements to which 
the suffering are most indebted. Such, lit up in the earlier passages 
by infinite comedy and artistically elevated by several tragic 
episodes of the highest power, is this famous impersonation." 

On Saturday, June 8, 1878, a new English version of ' Der 
Fliegende Hollander,' by Messrs. Wills and Percy Fitzgerald, 
under the title of ' Vanderdecken,' was produced at the Lyceum 
Theatre, Mr. Irving sustaining the leading role. " His appearance 
was splendidly picturesque and impressive, his aspect in the 
stronger scenes being absolutely lurid. His performance was, how- 
ever, wanting in variety, and was marred by the peculiarities which 
in ' Louis XI.' he appeared to have shaken off. If the play 
succeeds it must be on the strength of its weirdness and the 
admirable scenery supplied it. Mr. Irving's performance will 
certainly not rank with his best efforts." {AthencEum, June 15, 
1878.) The piece did not prove attractive. In the following month 
of the year last mentioned the management of the Lyceum Theatre 
revived Mr. Albery's adaptation of 'Pickwick,' designed to illus- 
trate the character and career oi Alfred Jingle. Mr. Irving had 
appeared in this character before, as has been already noticed, but 
the setting was a new one. The impersonation, however, was not 
of a kind to merit critical attention, and was possibly undertaken 
as a relief to Mr. Irving's more arduous duties. 

In the autumn of 1878 Mr. Irving became manager of the 
Lyceum Theatre, in succession to Mrs. Bateman, and opened 
Monday, December 30, with a revival of ' Hamlet,' in which Mr. 
Irving played Hamlet, Miss Ellen Terry Ophelia, Mr. Chippen- 
dale Polonius, Mr. Mead the Ghost, Mr. Forrester Claudius, Mr. 
F. Cooper Laertes, Miss Pauncefort Gertrude. Mr. Irving's 
reception was enthusiastic. On Thursday, April 17, 1879, he 


placed ' The Lady of Lyons ' on the stage, himself enacting the part 
of Clattde Melnotte. The play was presented with every possible 
advantage in the way of scenic illustration and appropriate cos- 
tumes. No applause could have been more vigorous, and no out- 
ward marks of appreciation more complimentary than Mr. Irving 
received on the first night and during the progress of the play. 
His Claude was, in all respects, an interesting performance, and for 
its own artistic value fully deserved the recognition that it gained; 
but it can hardly be claimed that it ranks with other characters in 
which Mr. Irving has appeared, in point either of the general 
interest it inspired or the permanence of its success.* " Mr. 
Irving, to tell the truth, is habitually inclined too much to seriously 
didactic tones and to the use of excited gestures of the sterner kind 
to attain an ideal standard of excellence in playing the part either 
of the ecstatic or the penitent lover. That his performance was 
distinguished by much force of the picturesque sort cannot be 
denied, and never, perhaps, has the fencing scene been rendered 
with more graceful dexterity, but Claude Melnotte is probably not 
destined to take high rank among Mr. Irving's impersonations." 
{Daily News, April i8, 1879.) 

Another journal, the AthencEum (April 26, 1879), remarked of 
Mr. Irving's performance of Claude Melnotte that it " will not add 
to his reputation. Had his impersonation, indeed, possessed the 
gifts it lacked, there would have been waste in employing his 
powers in this supremely artificial work, which has the fatal defect 
of displeasing more every time it is seen. As it proved, however, 
the character from the author's standpoint was not reahzed, the 
Claude Melnotte being a virile and passionate man instead of a 
dreamy and sentimental boy. ... In Claude Melnotte a triumph, 
if obtained, would have been uninteresting as regards art, however 
flattering it might have been to the artist. As it is, the warmest 
admirers of Mr. Irving speak of it apologetically rather than with 
open advocacy." 

During the continuance of the summer season 1879 Mr. Irving 
occupied himself with revivals of ' Hamlet,' ' Lady of Lyons,' 
' Eugene Aram,' ' Richelieu,' ' Louis XL,' ' Charles I.,' ' The Bells,' 
' The Lyons Mail.' One of these performances, that of ' Richelieu,' 
attracted the attention of M. Jules Claretie, the eminent French 
dramatic critic (who was in England during the visit of the 
Comddie Franfaise in the summer of 1879), in his weekly /£«///^/o« 
to La Presse (June 22, 1879). The translated passage of what he 
wrote is as follows : — " The great Cardinal, lean, eaten up with 
ambition, less for himself than for France, is admirably rendered 
by the actor. His gait is jerky, like that of a dying man racked by 
fever, his eye has the depths of a visionary, a hoarse cough under- 
mines that frail body, which is yet made of steel. When Richelieu 

* Since writing the foregoing I have been informed, on unquestionable 
authority, that the representations of ' The Lady of Lyons ' at the Lyceum 
Theatre in 1879 have been most successful ; and that on every evening 
during the season when it was played "the theatre was thronged."— Ed." 


appears in the midst of the courtiers, when he flings scorn in the 
face of the mediocre man who is to succeed him, when he suppli- 
cates and adjures tlie wealc Louis XIII., Irving gives that grand 
figure a striking majesty. And laow profound an artist the tragedian 
is ! I went to see him in his dressing-room after the performance. 
I found him surrounded by portraits of Richelieu. He had before 
him the three studies of Philippe de Champaigne, which are pre- 
served in the National Gallery : Richelieu seen full face, right-hand 
profile and left-hand profile, and also a photograph of the full-length 
portrait of the Cardinal by the same Philippe de Champaigne. 
When he plays Louis XL he studies Comines, Victor Hugo, 
Walter Scott, and all those who have spoken of the bourgeois and 
avaricious king who wore out the elbows of his ratteen pourpoint 
on the oak tables of his companions the fell-mongers and shoe- 
makers. . . . 

" Mr. Irving, in spite of his superb, energetic and fine head, has 
an air rather elegant than robust. He is as charming outside the 
theatre as he is touching on the stage. His dressing-room, with 
the pictures that are hung there, and the hospitality that awaits 
visitors, reminds one of the artistic loge, such as it is figured in 
Madame Sand's novel ' Pierre qui roule,' or in Dumas' famous drama 
' Kean.' Only here we must not place as a sub-title ' Ddsordre et 
Gdnie,' for you feel in Irving and in his company the correct recti- 
tude of the gentleman beneath the inspiration of the lettered artiste. 
We were asking him the other night what historical personage 
would tempt him, what physiognomy, he who excels in what I call 
resurrections, he would like to make alive again. ' What person- 
age ?, ' he asked. ' Yes ; which is the hero that seduces you ?' He 
reflected a moment, his fine head becoming suddenly pensive. 
' French or English ? ' he asked again. ' French or English, it does 
not matter.' ' Well,' he replied, after a moment's reflection, I 
should like to create a Caraille Desmoulins.' He has, indeed (adds 
M. Claretie), the energetic type and also the fineness of the men 
of the eighteenth century. With his long black hair and his fine, 
witty smile, he is a very hving Camille. Perhaps there is more 
kindness in his features than there was in those of the malicious 
author of ' Revolutions de France et de Brabant' It is the Camille 
of the ' Vieux Cordelier.' He would gladly incarnate that en- 
thusiastic journalist, and Miss Ellen Terry, who plays Ophelia 
with him in Hamlet, would make a touching Lucile. But the 
little success obtained by the piece on Camille Desmoulins that 
was played at Paris deters Henry Irving, who feels himself attracted 
rather by the physiognomy of Andrd Chdnier. He would be, and 
I hope will be, absolutely admirable if he has confidence in him 
who writes these lines, and who would regard it as a good fortune 
to have such an actor for an interpreter." M. Claretie further 
expressed himself as delighted with Mr. Irving's Hamlet and the 
splendour of the mi^e en scene. He compared the gravedigger's 
scene to a picture by Jean-Paul Laurens ; he had never seen any- 
thing so profoundly, so tragically true. , , ^ 

Mr. Irving's first season as manager termmated on July 26. 


His annual benefit took place on the 25th and 26tli. On the 
former evening he appeared in the fourth act of ' Richelieu,' and the ' 
third act of 'Louis XI.'; also (in association with Miss Ellen 
Terry) in the first act of ' Richard III.,' the fourth act of'Charles I.,' 
and the third act of ' Hamlet,' terminating with the play scene. 
The entertainments on each evening concluded with the farce of 
' Raising the Wind,' in which Mr. Irving represented the leading 
character. On the last night of the season he and Miss Ellen 
Terry appeared in Mr. Wills's ' Eugene Aram.' In an address 
from the stage on the previous evening, Mr. Irving stated that the 
receipts of the theatre during the seven months it had been opened 
under his management amounted " to the large sum of36,ooo/." 

IRWIN, KATHLEEN, was born at Exeter, and was specially 
educated for the stage. In singing she was a pupil of Mr. Joseph 
Wood (the husband of Miss Paton) and of Signer Lago, of the 
Royal Italian Opera. She entered the dramatic profession at 
Newcastle in 1868, playing there a round of characters with con- 
siderable success, and was engaged afterwards for the opening of 
the Charing Cross Theatre. Miss Irwin made her first appearance 
in London, June 19, 1869, at that theatre, as Patty Mayberry in 
the operetta ' Coming of Age.' On the same occasion she appeared 
also as Ferdinand in Cheltnam's comedy of ' Edendale,' and as 
Adalgisa in Gilbert's burlesque of ' Norma.' " In each of the three 
pieces the most unequivocal proof of ability was afforded " {Daily 
Telegraph, June 21, 1869). Since 1869 Miss Irwin has fulfilled 
important engagements at the Vaudeville, Drury Lane, Globe, 
Prince of Wales's, and Haymarket Theatres, in London. She has 
several times accompanied Mr. Toole on his provincial tours, 
playing leading characters in all his pieces ; and was a member of 
the so-called ' Caste ' company. Among principal parts Miss Irwin 
has played the following at various theatres in the provinces, viz. : 
May Edwards (' Ticket-of- Leave Man '), Marguerite (' Turn of the 
Tide '), Little Don Giovanni, Aladdin, Mary Belton (' Uncle Dick's 
Darling'}, xMaria ('Twelfth Night'), Ophelia, Polly ('Beggar's 
Opera '), Phcebe (' Paul Pry '), and Little EmUy in the play of that 
name. To these may also be added : Diana Vernon (' Rob Roy '), 
Clairette (' Madame Angot '), Esther and Polly Eccles (' Caste '), 
Mary Netley and Blanche Haye (' Ours '), Bella and Naomi Tighe 
(' School '), Black-Eyed Susan, Violet (' Life of an Actress '), Lydia 
Languish, &c. 

During the greater part of 1877 Miss Irwin was a member of the 
Haymarket company, and accompanied Mr. Buckstone on his 
farewell tour through the provinces, playing leading parts in ' The 
Rivals,' ' Pygmalion and Galatea,' &c. 


JAMES, DAVID (a nom de tMdtre), made his first appearance 
on the London stage at the Princess's Theatre during the manage- 
ment of Mr. Charles Kean in a subordinate part. He was after- 
wards engaged at the Royalty Theatre, where, in Mr. Burnand's 
burlesque ' Ixion ; or, the Man at the Wheel,' he played the part of 
Mercury. Mr. James subsequently joined the company of the Strand 
Theatre, of which he remained a member for nearly six years, and 
where he attained some distinction as an actor, chiefly in burlesque. 
Among pieces in which he was more than ordinarily successful 
during this engagement may be mentioned, ' One Tree Hill ' 
(H. T. Craven), produced April 1865, in which Mr. James played 
the part of Tom Foxerj an operatic extravaganza by Mr. Burnand 
entitled 'Windsor Castle,' first performed June 5, 1865, in which 
he played the part of Will Somers, the Court Jester ; the same 
author's burlesque of ' L'Africaine,' produced November 18, 1865, 
in which Mr. James was Neluska; ' The Heir-at-Law,' revival in 
February 1870, in which he sustained the part of Zekiel Homespun 
" in a quiet natural manner, which at once brushes from the mind 
all remembrance of the vigorous dancer of 'breakdowns'" (Times, 
February 7, 1870). In this part Mr. James achieved a sort of 
surprise, according to the Daily News (February 7, 1870), " by 
giving to this character, which is merely the conventional and 
intensely artificial stage-countryman of bygone times, a vitality and 
interest which few could have expected. The scene in which he 
rejects with scorn and loathing, mingled with sorrow at the dis- 
covery of the baseness of an old friend, the offensive proposal of 
the Honourable Dick Dowlas for a formal liaison with his sister, 
was really a powerful piece of acting." 

In conjunction with Messrs. Montague and Thome, Mr. James 
entered upon the management of the Vaudeville Theatre in 1870. 
On Saturday, April 16 of that year, the management opened the 
theatre with a farce entitled ' Chiselling '; a new comedy by the late 
Andrew Halliday entitled ' For Love or Money '; and a burlesque 
entitled ' Don Carlos ; or, the Infante in Arms.' Since his con- 
nection with the Vaudeville Theatre Mr. James has played the 
following parts with considerable success, viz. Mr. Jenkins, in 
Albery's comedy 'Two Roses,' produced June 4, 1870; Bob Proui, 
in a comedy by the same author entitled ' Apple Blossoms,' first 
performed September 9, 1871 ; Sir Benjamin Backbite, in a very 
successful revival of 'The School for Scandal,' July 18, 1872 ; Gold- 
jfinch, in 'The Road to Ruin,' revived in 1873; Sir Ball Brace, in 
a comedy by James Albery entitled ' Pride,' first performed April 
1874; and Perkyn Middlewick, in H. J. Byron's comedy 'Our 
Boys,' produced at the Vaudeville Theatre Saturday, January 16, 
1875, and removed from the playbills Friday, April 18, 1879— the 
most extraordinary " run " ever attained by a play. " The Perkyn 
Middlewick of Mr, David James and the lodging-house servant of 
Miss Cicely Richards would be unworthily treated by merely a passing 


word of conventional praise. The artistic impulse of Mr. David 
James is so keen that it refuses to be fettered. In spite of the fact 
that the character of the old butterman is often awkwardly por- 
trayed — though his pathetic utterances are not naturally introduced, 
springing out of nothing, governed by little motive, and marred by 
the wilful introduction of some verbal eccentricity — the artist is 
determined to fix the man vividly on the mind, and to show how 
thoroughly humour is appreciated. In walk, manner, gesture, in- 
tonation, and dress we perceive Pcrkyn Middlewick, the butter- 
man. Clever lines were never more admirably spoken, and carica- 
ture seldom conveyed with less exaggeration. Well might the 
audience appreciate the twinkle of delight with which the old fellow 
questions his boy on the details of his foreign trip, with an honest 
sense of pride in the possession of his hard-earned capital; the 
fussy vulgarity of the ex-tradesman when he finds himself on the 
same social platform as his friend the baronet ; his irritation under 
correction ; his natural and tender love for his boy, which will 
come welling up, swamping all the obstinacy and deterrnination for 
which he considers himself famous ; his "horror to find that the 
eggs the lad has been taking in his poverty are merely ' shop 'uns,' 
and that his bread has been buttered with ' Dosset.' These are 
but few of the points of a thoroughly characteristic and intelligent 
specimen of acting. One more character has been added to the 
list of successes achieved by Mr. David James in Perkyn Middle- 
■wici, the retired butterman." {Daily Telegraph, January i8, 1875.) 
On Saturday, April 19, 1879, first performance at the Vaudeville 
Theatre of ' Our Girls,' " a new and original " comedy, by Mr. H. J. 
Byron, designed to take the place of ' Our Boys,' Mr. James 
played with great effect the part of Plantagetiet Potter — a hard 
and literal representation of an uncultivated, but lucky and powerful, 
commercial gambler. " In all his actions this individual proves 
himself a vulgar, illiterate, pretentious hound, without a redeem- 
ing feature. Insolent in his prosperity, he is in his defeat cowardly 
and abject, and he treats with absolute brutality the wife who has 
sunk herself low enough to share his fate. Inasmuch, however, as 
this character has to be played by Mr. James, who presents it with 
artistic truth and sincerity, it is sought to give it some claim on 
sympathy." {Atketiceum, April 26, 1879.) 



JECKS, CLARA, daughter of Mrs. Jecks (HARRIET COVENEY), 
commenced her dramatic career in July 1873 at the Opdra Coniique 
in Burnand's ' Kissi-Kissi.' In the same year, during the autumn, 
she played a round of soubrette parts at Drury Lane Theatre ; and 
at Christmas sustained a leading part there in Blanchard's panto- 
mime of ' Jack-in-the-Box.' She has appeared in other pantomimes 
at the same theatre. At the Adelphi Theatre in 1877, i" the 
character of Lord Eden in ' Formosa,' she " displayed both good 
taste and spirit in a considerable degree" {Times, November 2, 


1877) ; and in the two following years acted there in ' Proof,' ' The 
Crimson Cross' (as Gontratz), 'The Ticket-of- Leave Man' (as 
Sam), 'Amy Robsart ' (as Janet Foster), &c. Miss Clara Jecks is a 
promising pianist and vocalist, a pupil of Madame Helene Greiffen- 


JEFFERSON, JOSEPH, was born in Philadelphia, February 20, 
1829. He is descended of an old theatrical family, his grandfather, 
Joseph Jefferson, comedian, having been a special favourite at the 
Chestnut Street Theatre in that city in the first years of the present 
century.* Mr. Jefferson's father was a scenic artist who became, 
by design, a manager, and subsequently, by accident, a player. It 
has been remarked of him (' At and After the Play,' L. Clarke Davis, 
LippincotCs Magazine, July 1879), that he began too late and died 
too early to make a great reputation as an actor, though he was 
accounted a fair one. The subject of the present record very early 
entered the dramatic profession in the United States, and earned 
distinction in a great variety of comic parts, ranging from Bob 
Acres, in the higher range of English comedy, to Caleb Phimmer 
in the domestic drama of more recent years. When only three 
years old he appeared on the stage as Rolla's child. Like most 
English actors, Mr. Joseph Jefferson studied the rudiments of his 
profession "strolhng." In 1849 "^^e entered into partnership with 
Mr. John EUsler to take a company over the Southern Circuit, 
which included all cities south of Richmond between the Atlantic 
and the Gulf. The writer from whom these facts are quoted (Mr. 
Clarke Davis) says : — " Now it was that ' hard times ' ceased knock- 
ing at his door, and for the first time in his life he began to gather 
in money faster than butcher or baker could take it from him." 
From 1852 to 1856 Mr. Jefferson was in Baltimore, first at the 
Holiday Street Theatre, then at the Museum; the next year he 
was in New York at Laura Keene's Theatre, " opening " the season 
for her as Dr. Pangloss. " But his thorough recognition by the 
public as a great and original artist of comedy was delayed in that 
city until the next season, when, on October 18, 1858, was produced 
for the first time on any stage Tom Taylor's play of ' Our American 
Cousin.' The cast was a remarkable one, embracing the names of 
Jefferson, Sothern, Couldock, and Peters ; and Laura Keene and 
Mary Wells, Effie Germon and Sarah Stevens." Mr. Jefferson 

* "Mr. Joseph Jefferson was an actor formed in Nature's merriest 
mood, a genuine son of Momus. There was a vein of rich humour running 
through all he did which forced you to laugh despite yourself. . . . His 
excellent personation of old men acquired for him before he had readied 
the meridian of life the title of Old Jefferson. . . . His versatility was 
astonishing — light comedy, old men, pantomime, low comedy, and occa- 
sionally juvenile tragedy. . . . He was the reigning favomrite of the 
Philadelphia Theatre for a longer period than any other actor ever attached 
to the city, and left it with a reputation all might envy." — Wemyss's 
Theatrical Biography. 

P 2 


played Asa Trenchard on the occasion, and, discarding all the 
traditions of the theatre, ''presented to the audience a Yankee 
entirely new to them." In i860 he first began playing his inimit- 
able impersonation of Rip Van Winkle^ from a play founded on 
Washington Irving's story by Charles Burke, an American actor of 
some repute in his day. During the Civil War Mr. Jefferson pro- 
fessionally visited the Australian colonies, and returning home by 
way of Liverpool, rested for a few days in London, where Mr. 
Benjamin Webster offered him an engagement at the Adelphi 
Theatre if he would appear in a new play. Writes Mr. Clarke 
Davis : — " He had none, but instinctively turned to Rip, for he had 
played the old version of Burke's, as altered by himself, with great 
success in the British colonies. He asked Boucicault to reconstruct 
it, and give it the weight of his name. Many of the suggestions of 
changes came from Jefferson, and one at least from Shakespeare. 
Boucicault shaped them in a week, and in the end received three 
thousand pounds for doing it ; but he had no faith in the success 
of his work, and told Jefferson that it could not possibly keep the 
stage for more than a single month." 

It is in the character of Rip Van Winkle Mr. Joseph Jefferson is 
best known to Englishmen, and he made his first appearance in 
that part before a London audience, at the Adelphi Theatre, on 
Monday, September 4, 1865. A drama under the same name had 
been performed at the elder establishment, the old Adelphi, in the 
month of October 1832. The cast had included the late Mr. Yates 
— whose representation of Rip in old age is mentioned in contem- 
porary journals as having been marvellously fine in its natural and 
artistic power — and Messrs. John Reeve, J. B. Buckstone, O. Smith, 
W. Bennett, and Miss Novello. Mr. Bernard was the author of 
the earlier adaptation. Mr. Jefferson achieved a triumphant success 
on the first night of his appearance in London. He has now the 
reputation in this country of being one of the most genuine artists 
who has at any time appeared on the English stage. "In Mr. 
Jefferson's hands," remarked the Times (September 6, 1865), "the 
character of Rip Van Winkle becomes the vehicle for an extremely 
refined psychological exhibition. In the first act he appears as 
a fine hearty man, aged about thirty years, with a frank, open 
countenance, rendered rather picturesque than otherwise by his 
dishevelled hair and tattered garments. He is so confirmed a 
drunkard that he has not so much as a sober interval. He will 
drink in company or he will drink alone ; but under any circum- 
stances, if a cup of Schiedam comes within his reach, he will not 
let it go till it is empty; and yet his vicious inclination can 
scarcely be called morbid. His potations rather improve than 
spoil his temper ; and, far from seeking to drown care in the bowl, 
he is such a happy-go-lucky sort of wight that he has no care to 
drown. He is beaming with a perpetual good nature, to which 
alcohol seems to be the necessary aliment, and which is rendered 
additionally unctuous by his dialect — a dialect, we may observe, 
that seems to be more German than Dutch in its character. Even 
though he greatly fears his wife, and almost execrates her in the 
presence of his boon companions, we perceive that there is nothine 


very harrowing in his terror, and that his disUke cannot approach 
malignity. The expression of any emotions is accompanied by a 
chuckle, as if he thought with Rabelais, that life is at best a farce, 
and was determined to take things easy. It is only when his wife, 
exasperated by his persistent inebriety, turns him out of doors into 
a stormy night that he is stricken to the heart, and even then he is 
only hurt — he is neither desperate nor vindictive. This freedom 
from malice always enlists the sympathies of the audience on the 
side of disreputable Rip, and however the declamations of his 
wife may delight teetotallers, impartial observers, who see such very 
good-humoured vice placed in juxtaposition to such very cross 
virtue, cannot help siding with the former. Let it not be supposed, 
however, that Rip is altogether a fool. A roguish money-lender, 
who, by making him a shade more drunk than usual, hopes to trap 
him into an alienation of important rights, is suddenly met by a 
petrified smile, plainly showing that business is impossible. The 
man is as void of expression as a toad ; but he is also as immovable. 
In the short second act, which is occupied by the meeting of Rip 
Van Winkle with the ghostly Hudson and his spectral crew, there 
is no further development of character; but when the Dutchman 
wakes in the third act, after a sleep of twenty years, the portraiture 
progresses. He is now an aged man, with white flowing hair and 
beard, who must be seventy or eighty years of age ; and although 
the change from the Rip of the first act is greater than could 
possibly have been effected by the mere lapse of four lustra, we 
would rather attribute the completeness of the transformation to 
the effect of Hudson's infernal beverage than suggest a correction 
of the seeming exaggeration. . . . The aged ^z^ has not altogether 
lost the disreputable peculiarities of his younger days. He cannot 
even now resist the temptation of a cup of schiedam when one is 
presented to him; but his former nature is toned down, and his 
affectionate disposition is more visible on the surface. Thinking 
that the woman whom he has so often execrated is dead, he honours 
her with a tear, and his love for the daughter, whom he left a little 
girl, crying over his expulsion, and whom he finds a full-grown 
woman, asserts itself with all force." 

The Press was unanimous in praise of Mr, Jefferson. The 
Saturday Review (September 23, 1865) thus alluded to the per- 
formance : — " If we state that every possible detail of character that 
could be produced under the circumstances supposed is represented 
with the most perfect ease — an art that thoroughly conceals art 
being aided by a happy union of natural qualities — we shall have 
implied that Mr. Jefferson has already taken a high position among 
modern theatrical artists. . . . There is no doubt that Mr. Jefferson 
will for some time to come remain the leading object in the eyes of 
the playgoing world ; and in the meanwhile we may praise Mr. 
Boucicault for the clever manner in which he has fitted an old 
story,'twice dramatized already, to the peculiarities of so original an 
actor." The Examiner, September 23, 1865,* considered that the 

* Compare Journal of a London Playgoer, Professor Henry Morley, 
p. 380. 


drama in the third act was at its poorest, but Mr. Jefferson was at his 
best. " Retaining his old Dutch English with a somewhat shriller 
pipe of age in its tone, he quietly makes the most of every oppor- 
tunity of representing the old man's bewilderment His timid 
approaches to an understanding of the change he finds ; his faint 
touch of the sorrow of old love in believing his wife dead, and 
reaction into humorous sense of relief; his trembling desire and 
dread of news about his daughter ; and, in a later scene, the pathos 
of his appeal to her for recognition, are all delicately true. It is 
doubtful whether, in such a drama, more could be done by the 
best effort of genius to represent the Rip Van Winkle of whom 
Washington Irving tells. It is certain that in a play more closely 
in accordance with the spirit of the story, Mr. Jefferson's success, 
real as it is, would have been yet more conspicuous." Since Mr. 
Jefferson's first appearance in London as Rip Van Winkle he has 
appeared only in this character during his periodical visits to 
England, with the following exceptions, namely, at the Prince's 
Theatre, Manchester, where he appeared, for one night only in 
May 1866, in a piece by Boucicault called 'The Parish Clerk'; and 
at Drury Lane Theatre, in March 1877, and at the Haymarket 
Theatre, in June, when he played Mr. Goligktly in ' Lend me Five 
Shillings,' and (at the last-named) Sir Hugh de Brass in 'A 
Regular Fix.' 

JOHNSON, SAMUEL, born in Ayrshire; son of a well-known 
actor and manager of a circuit of theatres in the west of Scotland. 
He first appeared on the stage at the theatre at Maryport, in 
Cumberland, at the age of fourteen, in the part of Bartolo in ' The 
Wife.' In 1853 Mr. Johnson became partner with Mr. John Cole- 
man in the management of the Theatre Royal, Sheffield, and pro- 
duced there a version of ' Uncle Tom's Cabin,' which was played 
for forty nights, " at that time considered an extraordinary ' run ' 
in the provinces for anything but pantomime." In 1855 he joined 
Mr. E. D. Davis's company at the Lyceum Theatre, Sunderland, 
opening as Touchstone in ' As You Like It.' After the destruction 
of that theatre by lire at Christmas in the same year, Mr. Johnson 
went to Newcastle-on-Tyne under the same management, returning 
when the " Lyceum," which had been rebuilt in the interval, re- 
opened in September 1856. It was on this occasion that Mr. 
Henry Irving made his first appearance on the stage. Mr. John- 
son made his debut on the London stage at the Lyceum Theatre in 
1859 in the Savage Club burlesque of ' The Forty Thieves,' in which 
he acted the part of Cassim Baba. In i86o he accepted a three 
years' engagement at Edinburgh Theatre Royal, where, in addition 
to the usual round of low comedy, he played an extensive series 
of Scotch characters, Nicol Jarvie, Dumbiedikes, Jock Howie- 
son, &c. Returning to London, Mr. Johnson was subsequently 
engaged at St. James's Theatre under the management of Frank 
Matthews, " opening " in an original farce, ' The Carte-de-Visite,' by 
Montague Williams, and as Golden-hair the Good in a " fairy tale " 
by H. J. Byron. 


In 1864 Mr. Johnson joined the company of the Theatre Royal, 
Dubhn, "opening" there on October 10 as the First Gravedigger 
in ' Hamlet.' He was attached to this theatre for ten years, playing 
all the legitimate comedy, more particularly Zekiel Homesptm, Dr. 
Ollapod, Bob Acres, Touchstone, Dogberry, &c. ; and during the 
summer months visiting the provincial towns in the south of 
Ireland, adding to his r^ertoire the characters ai Myles-na-Coppa- 
leen, Shaun the Post, Conn the Shaughraun. It is worthy of 
mention that this engagement of Mr. Samuel Johnson is noticed in 
appreciative terms in an interesting little volume. History of the 
Theatre Royal, Dublin, published in that city in 1870. At the 
end of his long period of service there, Mr. Johnson went in 1874 to 
Belfast, opening at the Theatre Royal as Bail lie Nicol Jar vie, and 
afterwards, with Mr. Warden's company, visiting Edinburgh and 
Glasgow and appearing in a series of the old comedies. In July 

1878 he was engaged by Miss Bateman for a short season at the 
Lyceum Theatre, playing Inspector Follit in ' Mary Warner ' ; and 
on the opening of the same theatre under Mr. Irving's management, 
December 30, 1878, reappeared there as the First Gravedigger 
{' Hamlet'), a part which he played throughout the summer season 

1879 with much success. 

JOHNSTONE, JAMES, was born in London, 1817, and made 
his first appearance on any stage in 1837, at Pym's private theatre, 
in the character of /ago. He made his dSut on the London stage 
in August 1847, at the Marylebone Theatre, then under the 
management of Mrs. Warner, as Polixenes in ' A Winter's Tale.' 
He has since appeared "in all the principal theatres of England, 
Scotland, and Ireland." In the year 1866 he was engaged by Mr. 
F. B. Chatterton, and was for five years stage-manager under him 
at Drury Lane Theatre. In 1876 he was stage-manager at the 
Princess's Theatre during an engagement of Mr. Jefferson {Rip 
Van Winkle). In 1878 Mr. Johnstone was engaged at the Park 
Theatre (London), playing in Irish drama, 'Peep o' Day,' 
'Shaughraun,' &c. At Easter of the same year he accepted an 
engagement at the Adelphi Theatre, and played in the drama of 
' Proof during the successful run of that piece (241 nights). 

JOSEPHS, FANNY (a nom de the&tre), entered the dramatic 
profession at a very early age, under the tutorage of her father, who 
held a position at the Dublin Theatre. She made her cUbut on 
the London stage Saturday, September 8, i860, at Sadler's Wells 
Theatre, in the part of Celia in a revival of ' As You Like It.' 
Afterwards at the same theatre she played Perdita in a revival of 
'A Winter's Tale.' In 1861 Miss Josephs joined the company of 
the Strand Theatre, of which she continued a member for some 
time, attaining considerable popularity, chiefly as an actress in 
burlesque. In 1866, on the opening night of the Holborn Theatre, 
under Mr. Sefton Parry's management, Saturda)-, October 6, she 
played the part of Lord Woodbie, first performance of Boucicault's 
drama ' Flying Scud.' In 1868 she entered upon the management 


of the same theatre, and produced on the opening night ' The Post 
Boy,' by H. T. Craven, and a burlesque by F. C. Burnand entitled 
'The White Fawn.' In 1871, October 7, Miss Josephs appeared at 
the Globe Theatre in H. J. Byron's comedy 'Partners for Life,' 
then performed for the first time. Two years later she accepted an 
engagement at the Prince of Wales's Theatre, and in September 
1873 appeared there as Bella in a revival of 'School'; and at 
Easter, 1874, as Lady Sneerwell in a revival of 'The School for 
Scandal.' " Special mention should be decidedly reserved for the 
Lady Sneerwell of Miss Fanny Josephs — a small character, it is 
true, though what character is small in the hands of an artist? 
Following the example so frequently and unselfishly set by Mrs. 
Bancroft for so many years. Miss Josephs took the small and, as it 
is called, ungrateful character, and made her mark. The dancing 
of Miss Fanny Josephs in the introduced minuet would have 
astonished the most critical grandmother. One can well believe in 
the old-fashioned horror of valses and polkas when we see such 
charming grace and true elegance as this." {Daily Telegraph, 
April 6, 1874.) In 1876 Miss Fanny Josephs appeared at the 
Olympic Theatre in a play, adapted by Mr. W. Muskerry from 
the French of M. BarriSre, entitled ' The Gascon ; or. Love and 
Loyalty.' On Saturday, March 31, 1877, first performance at the 
Criterion Theatre of ' The Pink Dominos,' adapted from the French 
of MM. Hennequin and Delacour (' Les Dominos Roses'), she 
played the part of Lady Marie Wagstaff. Miss Josephs appeared 
in the same character at the same theatre during the run of the 
piece. In the summer season of 1879 Miss Josephs became lessee 
and manager of the Olympic Theatre, "opening" in July with a 
five-act drama, by Paul Meritt and Henry Pettitt, entitled 'The 
Worship of Bacchus,' described in a contemporary journal as "a 
good specimen of a poor class of work, its chief fault being the 
absence of originality." It proved unattractive. On its withdrawal 
Mr. Mayo, an American actor of some celebrity, appeared in a piece 
in which he had been very successful in the United States, entitled 
'Davy Crockett,' "an Idyll of the Backwoods." This likewise 
failed to enlist the support of the public. 


KEAN, MRS. CHARLES {nde TREE, Ellen), relict of the late 
Charles Keati ; born in 1806. She first appeared in public at the 
Theatre Royal, Covent Garden, in the character of Olivia in 
Shakespeare's play of ' Twelfth Night.' Having subsequently ful- 
filled various engagements at Edinburgh and Bath, in 1826 she 
was engaged at Drury Lane Theatre, and made her first appear- 
ance there as Violante in ' The Wonder.' Writing of her in that 
year, Talfourd remarked of Ellen Tree : — " She has not the vocal 
power of Miss M. Tree [Maria Tree, afterwards Mrs. Bradshaw], 
nor that peculiar crispness of tone and delicacy of style which 
enabled her almost to hint how the women of Shakespeare should 
be played ; but she is much handsomer, and is better adapted both 
by figure and manner to represent the heroines of comedy. It has 
been her misfortune to appear at the commencement of the season 
when the company was incomplete and when there was occasion 
for her services in a greater range of parts than she is as yet pre- 
pared to fill. She has played successively Violante, Letitia Hardy, 
Rosalie Somers, A Ibina Mandeville, Lady Teazle, and Jane Shore, 
risking fearful odds in every trial, and, of course, with unequal 
success, but exhibiting in all good sense, feeling, and taste. Of 
these we think Albina Mandeville — which is an excellent picture 
of the hoyden softened by the lady — the best, and her Lady Teasle 
considerably the worst. Her Jane Shore, graceful, unpresuming, 
and feeble, gave no reason to believe that tragedy will ever be her 
i forte, but afforded assurance that she will beautifully express the 
milder sorrows of the sentimental drama." In 1829, at Covent 
Garden Theatre, Miss Ellen Tree sustained the part of Lady 
Townley in ' The Provoked Husband ' with much success. She 
was the " original " Mariana in Sheridan Knowles's play of ' The 
Wife ' ; the Countess, in the same author's play of ' Love ' ; the 
heroine of Miss F. Kemble's ' Francis the First,' &c. Between 
1836 and 1839 Miss E. Tree visited the United States of America. 
She was an actress of considerable repute previous to her marriage 
with the late Charles Kean, which took place on January 29, 1842. 
In that year she appeared with her husband at the Haymarket 
Theatre, under Mr. Benjamin Webster's management, in various 
Shakespearian plays and other examples of the poetic drama — 
' Twelfth Night,' ' Hamlet,' ' Macbeth,' ' The Stranger,' ' The Lady 
of Lyons,' 'The Gamester,' &c. Mrs. Charles Kean was at that 
time considered, according to the Athenaum (April 16, 1842), the 
most gentle and affecting representative of Mrs. Beverley on the 
stage — " she sets the ladies sobbing for sympathy with her sorrows." 
On Saturday, June 4, 1842, first performance at the Haymarket of 
Sheridan Knowles's play 'The Rose of Arragon,' Mrs. Charles 
Kean sustained the character of the heroine. "The Olivia of 
Mrs. Kean was pervaded by an earnest and thrilling expression of 
womanly feelirig. Her parting with her husband, her terrible scene 
with Almagro, and that blushing passage in her scene with her 


brother, where she reveals the outrage that had been committed 
upon her by Ahiiagro, were alike distinguished by the purity and 
pathos of their dehvery." {Atlas, June ii, 1842.) 

During the seasons 1842-3, 1843-4 she acted with her husband 
in the several revivals produced under his superintendence at the 
Haymarket and Drury Lane Theatres. In 1846, during Mr. and 
Mrs. Charles Kean's visit to the United States, they produced at 
the Park Theatre, New York, the play of 'The Wife's Secret,' 
written specially for them by Mr. Lovell. On Monday, January 17, 
1848, this piece was performed for the first time in England at the 
Haymarket Theatre— Ar Walter Amyott, Mr. C. Kean ; Lady 
Eveline Amyott, Mrs. C. Kean ; Jabez Sneed, Mr. Benjamin 
, Webster; Maud, Mrs. Keeley ; Lord Arden, Mr. Howe. The 
TUnes (January 18, 1848), noticing the performance, said : — -^^ Lady 
Eveline, the wife, is played to perfection by Mrs. Charles Kean. 
She makes the character exquisitely gentle and feminine, rising on 
occasion to haughtiness of conscious right, and looking with abhor- 
rent indignation at the imputation of wrong. It was by the admir- 
able preservation of the tenderer side of the character that the 
sterner traits produced their effect, for in her whole performance 
there was nothing forced or exaggerated. While conscious that 
she has a secret which she cannot disclose to her husband, the 
honest fearlessness with which, in one of the critical situations of 
the piece, she looks unshrinkingly into her husband's face is beauti- 
fully conceived, and when, towards the end, she is plainly accused 
of infidelity, the change in her countenance, and the deliberate 
manner in which she says, 

' I did not think 
I could so nearly hate thee,' 

is exceedingly fine. It should be observed that although she is 
aware she is suspected of harbouring a fugitive, it is not until late 
that she finds a doubt is entertained as to her virtue, and the dis- 
closure of this doubt comes upon her like a thunderbolt, the shock 
of which her pure soul is unable to sustain. The intrinsic goodness 
of the Lady Eveline is never lost sight' of by Mrs. Kean, who 
endows virtue with all its cheerfulness and all its indignation." 
The Morning Herald (January 18, 1848) remarked of her acting : — • 
" Mrs. Charles Kean has not lost any of those native traits which 
were always so becoming and fascinating. . . . Her portraiture of 
the heroine was a delicate sketch of feminine goodness and purity, 
winningly gentle in the moments of love' and confidence, though 
weighed down with the burthen of an unwilling 'secret'; but almost 
subUme in the tearful and impassioned vindication of her truth in 
the closing scenes of the drama. A more exquisite and touching 
performance than this is not to be found in the records of the 

Commenting upon Mrs. Kean's performance at the Haymarket 
Theatre, in June 1848, of the part of Clara Douglas in 'Money,' 
a contemporary journal remarks of it that " nothing more perfect 
was ever witnessed on the stage. It was nature itself, refined and 


idealized ; but still nature.'' On November 1 1 of the same year, at 
the same theatre, she played Viola in a " revival " of Shakespeare's 
'Twelfth Night.' "Mrs. Charles Kean was the Viola, and her 
excellent impersonation of the character is now traditional. Of 
modern actresses Mrs. Kean is the only one who presents it in its 
sweetness and its depth. The poetry and the melancholy are there, 
as well as the assumed gaiety. Not a tone of her voice but touches 
the heart. . . . Viola with Mrs. Kean puts not off the woman with 
her attire, but becomes yet more womanly." {Athenaum, Novem- 
ber 18, 1848.) On Wednesday, June 20, 1849, she played at the 
Haymarket the character of Katharine Lorn, first performance of 
Westland Marston's tragedy ' Strathmore.' This piece was a con- 
siderable success. The following year, in conjunction with Mr. 
Keeley, Mr. Charles Kean entered upon the management of the 
Princess's Theatre, and on the opening night of his first season 
there produced Shakespeare's ' Twelfth Night,' and a farce entitled 
' Platonic Attachment.' In the first-named comedy the cast in- 
cluded the following admirable players : — Mr. Keeley, Sir Andrew 
Aguecheek J Mr. Harley, the Clown; Mr. Ryder, Antonio; Mr. 
Addison, Sir Toby Belch; Mr. Meadows, Malvolio ; Mr. J. F. 
Cathcart, Sebastian; Mrs. Charles Kean, Viola. The house was 
crowded to excess. The piece of the evening formed the inaugural 
performance of a series of Shakespearian representations at the 
Princess's Theatre produced under Mr. Kean's superintendence, 
which, in the completeness and magnificence of their display, have 
never been excelled in the history of the Enghsh stage. Mrs, 
Charles Kean's acting of her favourite character on this occasion 
was thus spoken of : — " Mrs. Charles Kean's Viola is one of those 
charming impersonations which silence criticism. Skilful distribu- 
tion of light and shade, mixed gaiety and sadness, naivet^ and 
poetry are the attributes which in this part present her to us as an 
inimitable actress. These qualities, combined with the touching 
tones of her voice and the strong passion of her delivery, make her 
irresistible in characters of the kind. Her power in all these 
respects was never more perfectly exhibited than on the present 
occasion." On Monday, September 30, 1850, she played the part 
of Ophelia at the Princess's Theatre ; and on Saturday, November 9 
of the same year, the part of Isoline in ' The Templar ' of A. R. 
Slous, a play which met with extraordinary success. 

During the season Mrs. Kean played Lady Percy (' Henry the 
Fourth') ; Violante ('The Wonder') ; Rosalind ('As You Like It"), 
spoken of as being " one of the most original of her performances. 
In buoyancy, vivacity, and sweetness it can scarcely be surpassed." 
In 185 1, Monday, 17th March, she played the heroine in John 
Oxenford's drama ' Pauline,' then first performed in London at the 
Princess's Theatre ; and on Wednesday, June 4, Mdlle. Lestelle de 
Belle Isle, in 'The Duke's Wager' (A. R. Slous), a version of 
M. Dumas' ' Mdlle. de Belle Isle.' On Monday, February 9, 
1852, Mrs. Kean sustained the part of Constance in ' King John,' 
which was produced at the Princess's on a scale of magnificence 
never before surpassed, either by Macready or Phelps, and with a 


profusion of accessories that even in those days of special attention 
to mise en seine was pronounced to be unexampled. Said the 
Spectator (February 14, 1852) : — " Altogether, great care and artistic 
conscientiousness are the leading characteristics of Mr. Charles 
Kean's present career. They are now even the distinguishing 
marks in his acting. . . . The same spirit of completeness extends 
to Mrs. Kean's Coyistatice. She has a more complete management 
of her voice than on many former occasions, and while she gives 
full play to the rage and pathos of the character, she does not force 
us to reflect on an inadequacy of physical force to meet the requisi- 
tion of mental energy." The Times (February 10, 1852) wrote of 
Mrs. Kean's impersonation of Constance as follows : — " As for 
Mrs. Kean, it is long since she had a part displaying her to such 
advantage as Constance. The mother's fondness was constantly 
kept in view in the earlier scenes, as a preparation for the storms 
of grief and rage that were to arise when the loved object was 
snatched away. The tone in which she addressed Austria, after 
she had vented her first indignation at the French for their deser- 
tion of her cause, was finely discriminated. Her wrath had hitherto 
been vehement, but here it grew calm with intensity and slow of 
utterance ; it was rage accompanied with contempt. The agonies of 
grief were commanding in their force, and we seldom see nowadays 
such a complete abandonment of the actress to the spirit of the 
scene as in the torrent of woe with which she bewailed the loss of 
her son. It was a grief exulting in its own abundance, and claiming 
reverence from all who beheld it." 

During the same year two new pieces were produced at the 
Princess's Theatre, in which Mrs. Kean sustained a principal role, 
viz. 'The Trial of Love' (Lovell), on June 7, 1852; and 'Anne 
Blake' (Westland Marston), in October 1852. On Saturday, 
January 12, 1853, was performed Douglas Jerrold's play 'St. Cupid,' 
first represented on the stage at Windsor Castle, before the Queen, 
Prince Consort, and royal household. Mrs. Kean played her ori- 
ginal character, Dorothy Bt-tdd. The Spectator (January 29, 1853), 
examining the merits of this production, said : — " To a man of real 
literary genius like Mr. Jerrold, the aspect of the drama at the time to 
which we more especially refer — the time immediately preceding 
Mr. Macready's management of Covent Garden — must have been 
particularly revolting. The large theatres were professedly devoted 
to opera and spectacle. ... In that evil day Mr. Jerrold stood as 
one of the very few practical representatives of the literary drama. 
What wonder, then, that finding ' effects ' and the melodramatic 
aids of the art in the hands of the enemy, he should eschew them 
and endeavour to make language alone the important affair in a 
dramatic work ? . . . . Hence originated his good qualities and his 
defects. The power of repartee has been developed in him to a 
degree that claims unmixed admiration, the author having so used 
it as to have formed a distinctive style of his own, almost as 
peculiar as that of Mr. Thomas Carlyle ; but his story and his 
characters rarely lay a strong hold on the sympathies. What we 
have just said generally will apply particularly to Mr. Jerrold's new 


three-act piece of ' St. Cupid,' played yesterday week before the 
Queen at Windsor, and on the following night (last Saturday) at 
the Princess's. It is a sort of pendant to 'The Housekeeper,' 
having, like that favourite drama, the contest between Hanoverians 
and Jacobites as an historical background. The heroine of ' The 
Housekeeper' is a young lady who adopts the position of a superior 
servant to captivate the heart of a recluse ; the hero of ' St. Cupid ' 
is a young gentleman of fortune and family, who assumes the dis- 
guise of an usher to make an impression on the daughter of a 
suburban schoolmaster. In both the leading female character is 
one of those combinations of sentiment and repartee which no one 
can personate better than Mrs. Charles Kean, who so well under- 
stands how to convey an emotion by a glance, and a point by an 
accent. When we look for differences, the advantage is on the side 
of ' The Housekeeper,' as being the more compact of the two." 

On Monday, February 14, 1853, one of the grandest and most 
original revivals of the Kean regime took place at the Princess's 
Theatre, in the performance of ' Macbeth.' Mrs. Kean played the 
heroine. According to the Athenceum (February 19, 1853), there 
are two modes of acting Lady Macbeth. One is the cool and 
witheringly sarcastic under which Macbeth writhes and winces, the 
other the impassioned and determined by which he is attracted 
and hurried on to the assassination. Mrs. Kean adopted the^ latter 
reading. She employed great action and energy in the temptation 
scenes, displayed much agitation during the banquet, and in the 
somnolent soliloquies affected attitudes that were picturesque and 
imposing. In the embodiment of this impersonation she was 
remarkably successful ; not at all deficient, as might have been 
expected, in the requisite physical force. 

" The acting of the tragedy," said the Times (February 15, 1853), 
"is perhaps less a-subject of curiosity than the decorations, inas- 
much as Macbeth and his lady were favourite characters with 
Mr. and Mrs. Charles Kean shortly before they opened the Prin- 
cess's Theatre. But unless our memory very greatly deceives us, 
it seems to us that Mrs. Charles Kean has adopted a version of 1 
Lady Macbeth which differs essentially from the one which she gave ; 
a few years back, as being much more terrible and much more ' 
tragic. The countenance which she assumed last night when I 
luring on Macbeth to his course of crime was actually appalling in ! 
intensity, as if it denoted a hunger after guilt. When remorse had ; 
taken off the first bloom of reckless courage, and she appeared I 
heartsick in the midst of worldly success, her features were less | 
savage, but they were not the less stern ; and her appearance at the \ 
banquet, when by a feigned hilarity she strove to divert the atten- 
tion of the guests from Macbeth's aberrations, was singularly 
impressive. . . . The sleep-walking scene, calm and dignified, an 
incarnation of agony, was admirably played, and, what is a great 
point in this scene, was admirably looked." On Monday, June 13, 
1853, Lord Byron's Assyrian tragedy of ' Sardanapalus ' was pro- 
duced at the Princess's. Nothing so gorgeous, striking, and charac- 
teristic was ever before put on the boards. It is stated to have 


cost the management not less than 3000/. in its production. 
Mrs. C. Kean sustained the part of Myrrha. Lord Byron's 
' Sardanapalus ' had been used by Mr. Charles Kean as a vehicle 
for presenting to the public a series of tableaux based on the 
researches of Mr. Layard. The scenes were of the most costly and 
elaborate kind ; and it was said that the public, who would not 
have gone to see the play as a tragic production, were likely to be 
tempted to it as a sort of Panorama of Assyria. (Examiner, 
June 18, 1853.) In May 1855, after an absence of many months 
from the stage owing to ill-health, Mrs. Charles Kean reappeared 
on the stage of the Princess's Theatre as Queen Katharine, in a 
revival of Shakespeare's ' Henry the Eighth,' produced with a 
degree of elaboration in its accessories and illustrations never before 
exceeded in the presentation of this play. Said the Times (May 17, 
1855) : — " We will run the risk of being charged with exaggeration by 
declaring in most unequivocal terms that the play of ' Henry VIII.,' 
as produced last night at the Princess's Theatre, is the most 
wonderful spectacle that has ever been seen on the London stage. 
Our readers may, if they please, shake their heads and shrug their 
shoulders, but when they have become spectators as well as readers 
we are perfectly certain of their suffrages. . . . Altogether, it was a 
grand occasion at the Princess's. Mrs. Charles Kean, who had 
been absent for nearly eighteen months, reappeared as Queeti 
Katharine, and the dignified manner in which she went through 
the trial, and the truthful details of the death, rendered this one of 
the most striking characters in which she has yet been seen. . . . 
If we now speak only in these general terms, it is because we 
intend, at a future opportunity, to recur to the subject, and to state 
in something like detail the merits of this most remarkable produc- 
tion. Such a revival demands a careful study to appreciate its 
various excellencies ; we now merely wish to convey the fact of an 
extraordinary success." In a second notice of the same performance 
— it may be remarked that the revival was eminently successful, 
and had a " run " of 100 nights — published in the same journal, the 
acting of Mrs. Charles Kean is thus reverted to : — " ' Pomp,' says 
Dr. Johnson, dribbling out his little meed of praise, 'is not the only 
merit of this play ; the meek sorrows and virtuous distress of 
Katharine have furnished some scenes which may be justly 
numbered among the greatest efforts of tragedy.' The return of 
Mrs. Charles Kean to the stage in the part of Queen Katharine is 
one of the great features of this revival, and her delineation of the 
'meek sorrows' and 'virtuous distress' is as refined and touching as 
possible. In her first scene (the council chamber), when she tries 
to damp the ill-feeling against the Duke of Buckingham, she 
conveys by her firmness, and, at the same time, by the mild tone of 
her remonstrance, that combination of a strong sense of rectitude 
with excessive mildness of disposition which makes the entirety of 
her character. The revival of the scene in the third act — omitted 
of late years— in which the Queen receives the visit of the two 
cardinals, is most judicious, as it gives the part a development 
which is generally missed. In the trial scene the wrongs of 


Katharine have so completely aroused the dignified element of 
her nature, that the gentle constituent is almost forgotten, and she 
must be followed to her own apartment in the palace, where she 
enjoys a comparative privacy, that the extent of her suffering may 
be appreciated. The revelation of sorrow is exquisitely made by 
Mrs. Charles Kean. The indignation against her visitors passes 
away, and the whole misery of her position rushes upon her at the ' 

'I am the most unhappy woman living,' 

with an intensity that could not be surpassed. The last scene is, of 
course, the most elaborate study of the whole ; she has to indicate, 
by visible signs, the gradual but sure approach of death ; and the 
feeble movements, the involuntary play of the hands, and the 
uncertain gaze, are admirably sustained throughout. The dignity of 
character, which has been so prominent at the trial, is now dis- 
played by the offence taken by the Queen at the unmannered 
entrance of the ' saucy fellow,' as she calls the messenger, and Mrs. 
Kean has taken care to show how the high feeling of a lady, who, 
though meelc, is still an Arragonese, may be tempered down by 
physical debility into invalid pettishness ; there is even something 
of puerile spite in her request : ' But this fellow let me ne'er see 
again ; ' when after being seemingly pacified, she returns to the 
subject of offence. This scene is, unquestionably, one of the most 
arduous in the whole cycle of the English drama. All the emotions 
that have previously influenced the Queen are brought together 
within its limits, but the expression of these is so much altered by 
suffering that each requires a new interpretation. There is, more- 
over, one failing which is peculiar to the scene, and that is the 
sentiment of rehgious resignation. Mrs. Charles Kean makes this 
sentiment especially valuable in completing the effect produced by 
the descent of the angels in the vision. The attitude in which, 
half- rising from her couch, she follows with her eyes the departing 
forms, might serve as a study for some picture of a saint's 
'ecstasy.' " 

On April 28, 1856, 'A Winter's Tale' was represented on the 
stage of the Princess's, with such elaboration, completeness, and 
skill, as to astonish even those who were familiar with the glories of 
' Sardanapalus ' and ' Henry the Eighth.' The fact that the scene, of 
, the play is laid in Sicily had been seized upon with avidity by the 
enterprising manager as a pretext for converting the greater portion 
of the piece into a most costly exhibition of Grecian antiquities ; 
while " Bohemia," changed for stage purposes into Bithynia, was 
made to contrast the pastoral life of Asia Minor with the town 
existence of Syracuse. In the piece Mrs. Charles Kean sustained 
the part of Hermione. "The 'Winter's Tale,' produced at the 
Princess's Theatre with extraordinary magnificence of decoration, 
has revived the question of the artistic legitimateness of those 
gorgeous accessories with which Mr. Kean has more than once 
decked out the Shakespearian dramas. The point is by no means 
settled, as some critics seem to think, by the consideration that 


Shakespeare himself could never have, in fact, contemplated such 
a representation of his play. If any test at all can be applied', it 
must be furnished by the dramatist's own conception of the scene 
in which his personages moved — by the manner in which they were 
ideally presented to his mind ; and if we can convince ourselves 
that Shakespeare — with whatever vagueness — conceived his Leontes, 
his Hermione, and his Perdita, as surrounded by the very life and 
scenery of actual Greece, we must be grateful to Mr. Kean for 
supplying an element which the poet himself was only forced to 
exclude by the imperfect mechanism of the Elizabethan stage. . . . 
The first three acts of ' A Winter's Tale ' are occupied with the 
causeless jealousy of Leontes, and the suffering resignation of 
Hermione. This series of scenes could hardly have been written by 
any dramatist of a period in which the events of Henry the Eighth's 
reign were not fresh in men's minds, and the modern reader finds 
them unaccountable and unnatural. The last two acts are, how- 
ever, among the most charming in Shakespeare|; and it is by their 
performance in this part of the play that the actors will probably 
be judged. Autolycus — an old part of Mr. Harley's, we imagine — 
overflows with humour. The beauty and rusticity of Perdita, and 
the boyish petulance of Florizel, are not unworthy of the' exquisite 
scene in which the dramatist has made them the principal figures. 
Hermione — but it is superfluous to praise Mrs. Kean — is full of 
womanly gentleness and tenderness." {Saturday Review, May 3, 
1856.) In 1857, Thursday, March 12, 'Richard the Second 'was 
produced to a crowded audience. This revival was, if possible, 
more imposing, and even a greater success than its predecessors 
had been. " Long before the performance had reached its termi- 
nation the opinion was murmured through the stalls that all past 
glories were eclipsed by the lustre actually present, and that 
' Richard the Second ' was, in fact, ' the best thing that Mr. Kean 
had ever done.' " Mrs. Kean sustained the part of the Queen, " a 
little more than nominal character, but made a vehicle for the 
finest acting by the mere force of her own genius." " When in front of 
an admirable picture, representing the ' Traitor's Gate' of the Tower, 
and coming in mournful contrast with the glittering displays that 
have preceded it, the Queen bids farewell to her deposed husband, 
we find out at last why Mrs. Charles Kean has undertaken a part 
so. unpromising. The horror which she has evinced in the fourth 
act, while Ustening to the gardener's conjectures as to the fate of 
Richard, is, indeed, finely portrayed ; but one start is, after all, a 
small object. The character has been left as a mere sketch by the 
poet, and, far from any historical association being connected with 
it, an inaccuracy has been committed by making a child of nine 
years old a full-grown woman. In the parting scene, however, 
Mrs. Kean shows how a consummate artist can make a great deal 
out of a scanty material. This shadowy unsubstantial Queen can 
be supposed a remarkable instance of feminine devotion, and the 
words she utters, though not many, bear out the supposition. On 
this hypothesis Mrs. Kean, when Richard is torn from her arms, 
displays such an agony of tearful grief, is so completely broken up 


with heartrending sorrow, that, although the pageantry of the play 
is over, this scene is one of the most effective of the whole perform- 
ance. When the hapless King has departed she carries out still 
further her illustration of the feeling by rushing towards the parapet 
and leaning, over it to catch a last glimpse of the beloved object, 
while the succeeding decoration closes upon her." {Times, March 
16, 1857.) 

. Towards the close of Mr. Kean's management of the Princess's 
Theatre, in March 1859, "naturally desirous of crowning his series 
of Shakespearian revivals with his greatest effort," he placed upon 
the stage ' Henry the Fifth.' Mrs. Kean in the play undertook the 
part of Chorus, her acting in which was very highly commended. 
On Monday, August 29, 1859, the last of the famous Shakespearian 
revivals of Mr. Charles Kean's administration of the Princess's 
Theatre took place. His management had continued for nine years, 
and during that time Mrs. Kean had necessarily shared with her 
husband all the anxieties inseparable from so great a responsibility. 
In one season alone fifty thousand pounds were expended in the 
production of plays. Whilst some of these were being performed 
the management had given employment, and consequently weekly 
payment, to nearly five hundred and fifty persons. Each important 
piece, from the moment it first suggested itself to the mind of Mr. 
Kean until its first public performance, had occupied not far from 
a twelvemonth in preparation. Said Mr. Kean, in a farewell 
address : — " It would have been impossible on my part to gratify 
my enthusiastic wishes in the illustration of Shakespeare had not 
my previous career, as an actor, placed me in a position of com- 
parative independence with regard to speculative disappointment. 
Wonderful as have been the yearly receipts,* yet the sums ex- 
pended — sums I have every reason to believe not to be paralleled 
in any theatre of the same capacity throughout the world — make it 
desirable that I should now retire from the self-imposed responsi- 
bility of management, involving such a perilous outlay, and the 
more especially as a building so restricted in size as the Prin- 
cess's renders any adequate return utterly hopeless." Mrs. Kean, 
by her great professional accornplishments, contributed, in no slight 
degree, to render her husband's period of management eminently 
prosperous in a monetary sense ; and to her a share of the 
honour also belongs of helping to make it in all respects the most 
brilliant, and from first to last remarkable, of any in dramatic 
annals. Mrs. Kean retired from the stage on the death of her 
husband, which took place January 22, 1868. 

KEELEY, MRS. {n^e Goward), bom at Ipswich, in 1806; 
relict of the late Robert Keeley, the popular comedian, who died 
in 1869. She made her professional d^but at the Lyceum Theatre 
in 1825, as Rosina in the operetta of that name. Mr. J. R. Planch^, 
in his Recollections (vol. i. p. 81), writing of the production in 

* 200/. was considered a large nightly receipt, and 250/. an extra- 
ordinary one. 



London of Weber's ' Oberon,' remarks : — " A young lady, who sub- 
sequently became one of the most popular actresses in my recollec- 
tion, was certainly included in the cast ; but she had not a line to 
speak, and was pressed into the service in consequence of the 
paucity of vocalists, as she had a sweet, though not very powerful 
voice, and was even then artist enough to Ise entrusted with anything. 
That young lady was Miss Goward, now Mrs. Keeley, and to her was 
assigned the exquisite Mermaid's song mthejinale." In 1832 Mrs, 
Keeley was engaged at the Theatre Royal, Covent Garden, appear- 
ing there in such pieces as 'The Tartar Witch and the Pedlar 
Boy'; 'The Clutterbucks ; or, the Railroad of Love,' &c. In 
March 1833 at that theatre she played a subordinate part in Poole's 
farce ' A Nabob for an Hour,' with sufficient energy as to merit 
the following notice from a contemporary journal : — " One joyous, 
bubbling, triumphant rush of Mrs. Keeley upon the stage to 
announce Mr. Frampton to her .mistress is admirable." In 1834 
she acted at the old Adelphi Theatre for a season the comic female 
rdle in ' Agnes de Vere ; or, the Broken Heart,' with Mr. Buckstone, 
the author of the piece, as leading low comedian. At the English 
Opera House in 1835 she appeared in Serle's drama 'The Shadow 
on the Wall,' her acting in which was noticed as of a very high 
order indeed. Said the Athenceufn (May 2, 1835) : — " If Mrs. Keeley 
continues to act so admirably in parts like this of domestic pathos 
there will be a sad struggle for her between the tragic and comic 
muses of humble life. To those who know how clever she is in 
low comedy we cannot pay her a greater compliment than we do in 
saying that as far as the public is concerned it matters little which 
gets her." The same year at the Adelphi Theatre, the first year of 
the late Charles Mathews the younger's managerial experiences, 
Mrs. Keeley appeared on the opening night, September 28, in a 
new domestic burletta, entitled ' The London Carrier ' ; Mr. Buck- 
stone, Mr. Keeley, and Mr. O. Smith were in the cast. At the 
same theatre in the following month she played a part in the late 
John Oxenford's first melodramatic attempt, ' The Castilian Noble 
and the Contrabandista.' When Mr. Charles Mathews joined 
Madame Vestris in the management of the Olympic Theatre, 
Mrs. Keeley went with them for a brief season, and appeared there 
in October 1837 in a piece written by Mr. Charles Mathews, 
entitled ' Truth.' Returning to the Adelphi in November 1838, she 
played Smike, in a dramatic version of Charles Dickens's ' Nicholas 
Nickleby,' the late Mr. Yates sustaining the part of Mantalini, and 
O. Smith that of Newman Noggs. The following year (still at the 
old Adelphi Theatre) she personated with immense success the 
house-breaking hero in Buckstone's drama of ' Jack Sheppard.' 
In 1841 Mrs. Keeley was "making merry the visitors at the new 
Strand Theatre," then recently opened. In January 1842 she took 
part in the performances inaugurating the Macready management 
of Drury Lane Theatre, and appeared there as Nerissa (' The 
Merchant of Venice '), and subsequently as Mrs. Placid in Mrs. 
Inchbald's comedy ' Every One has his Fault.' The same year 
at the same theatre she -sustained the part . of Poll Palltuall in 


bouglas Jerrold's comedy ' The Prisoner of War.' Mrs. Keeley's 
acting of this character confirmed her rising reputation, and 
stamped her as an artist in critical estimation. In March 1842, at 
Drury Lane, she played Th^rise in ' The Students of Bonn,' with 
"the ease, volubility, and dryness of Ddjazet without Ddjazet's 
effrontery " {Athenceum, April 2, 1842). 

In the second season of Macready's management of Drury Lane 
Theatre, Mrs. Keeley appeared as Audrey in a "revival" of 'As 
You Like It.' In 1844 she and her husband entered upon the 
management of the Lyceum Theatre, which, under their regime, 
became famous for dramatic parodies and burlesques, written, for 
the most part, by Charles Dance and J. R. Planchd. On the 
opening night, Easter Monday, 1844, 'The Forty Thieves' was 
produced ; and throughout the season a variety of pieces written 
especially for Mr. and Mrs. Keeley received well-deserved support. 
On Saturday, December 20, 1845, Mrs. Keeley played Mrs. Peery- 
bingle in ' The Cricket on the Hearth,' dramatized at the request 
of Charles Dickens, by Albert Smith, with express reference to the 
Lyceum company. The following year at Christmas a dramati- 
zation by Albert Smith of Charles Dickens's story ' The Battle of 
Life ' was produced, Mrs. Keeley sustaining the part of Clemency 
Newcome. " The acting of Mrs. Keeley is one of those admirable 
examples of histrionic art which almost reconcile an audience to 
every fault in the scenes that give occasion to their exhibition. 
The part of Cle?nency Newcome was the life, the soul, the salvation 
of the new drama. The actress was unwearied in her exertions. 
Her costume was picturesque, her action and by-play were every- 
where appropriate,, her tones were full of feeling, honesty, and 
earnestness. There was the eccentric, hard-working, faithful little 
body — an unmistakable identity!" {Athenceum, December 26, 1846.) 
In August 1847 Mrs. Keeley retired from the management of the 
Lyceum Theatre, and accepted an engagement under Mr. Webster 
at the Haymarket. On Monday, November 15, 1847, she appeared 
there as Mdlle. Suzanne Grasset de Villedieu in 'The Roused 
Lion,' a comic drama, adapted from the French, ' Le Rdveil du 
Lion.' The extraordinary success of this piece was, in the main, 
. attributable to the acting of Mr. B. Webster and Mrs. Keeley. 
On January 17, 1848, first performance at that theatre of 'The 
Wife's Secret ' (Lovell), Mr. and Mrs. Charles Kean in the prin- 
cipal parts, Mrs. Keeley played the waiting-maid Maud with 
great excellence. {See Kean, Mrs. Charles.) Said the Times 
(January 18, 1848) : — "That admirable actress, Mrs. Keeley, plays 
a lady's-maid forced into puritanism by the manners of the time, 
yet dropping the garb of sanctity at every possible opportunity. 
The alternation of the nasal twang with her own merry little voice 
tells with excellent effect, and the piquancy of the actress renders 
this trifling part one of the most interesting in the piece." 

In 1849, during the engagement of the Keans at the Haymarket, 
Mrs. Keeley played, among other characters, Nerissa (' Merchant 
of Venice'); Jane ('Wild Oats'); Rachel ('The Rent Day'), &c. 
On Thursday, May 9, 1850, first performance of Douglas Jerrold's 

Q 2 


comedy ' The Catspaw,' she sustained the part of Rosemary, and 
the same year, at the Princess's Theatre, Maria in ' Twelfth Night.' 
From 1850 to 1855 Mrs. Keeley was a member of the company of 
the Adelphi Theatre. On Thursday, March 8, 1855, she appeared 
there as Betty Martin, in a farce of that name, derived from a 
French vaudeville, ' Le Chapeau de I'Horloger,' from the pen of 
Madame Girardin, a little piece converted into a great one by the 
force of Mrs. Keeley's acting. " The little farce of ' Betty Martin,' 
though its action depends on the smallest possible motive, is 
remarkable for one of the most perfect histrionic exhibitions that 
could be found upon the modern stage. Betty Martin is a house- 
maid in the service of Major Miltiades Mohawk, an irascible 
gentleman who has lately taken unto himself a young ?jid charm- 
ing wife. Betty Martin breaks the family clock, which is a choice 
work of art, and that it may be mended clandestinely sends for a 
clockmaker, intending to defray the charges out of her own pocket 
Somebody arrives during the interview with the clockmaker, who 
is accordingly concealed by Betty Martin in her mistress's chamber, 
and leaves his hat behind him. The hat, a very shabby one, is 
picked up by the peppery major, whose domestic peace is at once 
annihilated, as from sundry causes he believes that the concealed 
party is a lover of Mrs. Mohawk's. When he has gone through 
a due course of jealous anguish he learns the real state of the case, 
and is so pleased at being relieved from his horrid suspicions, 
that, far from discharging the destructive Betty Martin, he actually 
doubles her wages. All this drily narrated looks, no doubt, trivial 
and commonplace ; but the filling up of Mrs. Keeley converts the 
slight sketch into a work replete with life and truthfulness. The 
agonized terror with which she rushes upon the stage when she 
has just broken the clock, is all but tragical, and her weeping is 
such weeping that we feel could not exist in any other situation. 
The clock has been her fate, and seems to rule all her actions. 
She steals about like a 'guilty thing'; she is always nervously 
ready to check any revelation of the dreadful deed; she empties 
the sugar-basin into the teapot, and commits other discrepancies 
as if she were possessed by a demon ; and when at last the major, 
believing that she is an accomplice in his wife's infidelity, flings 
down her wages and bids her quit the house, the reaction is tre- 
mendous. She feels that she is no longer a servant, and therefore 
no longer responsible to the major, a vast load of care has fallen 
from her heart, and with a haughty, defying look, she bids him 
take back his money, as it may go towards the damages. The 
whole character is a complete creation from beginning to end; 
there is not a weak point about it." {Times, March 10, 1855.) 

On Monday, February 11, 1856, at the Adelphi, Mrs. Keeley 
played Mary Jane, first performance of Moore's farce ' That 
Blessed Baby.' In 1857, March, at Drury Lane, revival of 
Morton's comedy ' A Cure for the Heartache,' she sustained the 
part of Frank Oatlands. As late as 1859 Mrs. Keeley was playing 
in burlesque at the Lyceum Theatre, as Hector, in ' The Siege 
of Troy,' by Brough. Since that year Mrs. Keeley has rarely 


appeared on the boards except on benefit occasions, in aid of some 
deserving player. The late Mr. G. H. Lewes, in his work 
On Actors and the Art of Acting (pp. 80-87), makes mention of 
Mrs. Keeley as follows : — " Among my very pleasantest recollec- 
tions of the stage arise the figures of Keeley and his wife, each 
Standing alone as a type of comic acting, and each markedly 
illustrating the truth so little understood, that acting, because it is 
a representative art, cannot be created by intelligence or sensibility 
(however necessary these may be for the perfection of the art), but 
must always depend upon the physical qualifications of the actor, 
these being the means of representation. It matters little what 
the actor feels ; what he can express gives him his distinctive 
value. . . . Mrs. Keeley had little or none of the unctuousness 
of her husband, but she also was remarkably endowed. She was 
as intense and pointed as he was easy and fluent. She con- 
centrated into her repartees an amount of intellectual vie and 
' devil ' which gave such a feather to the shaft that authors must 
often have been surprised at the revelation to themselves of the 
force of their own wit. Eye, voice, gesture, sparkled and chuckled. 
You could see that she enjoyed the joke, but enjoyed it rather as 
an intellectual triumph over others than from an impersonal 
delight in the joke itself. Keeley was like a fat, happy, self- 
satisfied puppy, taking life easily, ready to get sniffing and enjoy- 
ment out of everything. Mrs. Keeley was like a sprightly kitten, 
eager to make a mouse of every moving thing. '. . . Did the 
reader happen to see her play the maid-of-all-work in ' Furnished 
Apartments ' ? He will not easily forget such a picture of the 
London ' slavey,' a stupid, wearied, slatternly, good-natured drab, 
her brain confused by incessant bells, her vitality ebbing under 
overwork. He wiU not forget the dazed expression, the limp 
exhaustion of her limbs, the wonderful assemblage of rags which 
passed for her costume. There was something at once inexpressibly 
droll and pathetic in this picture. It was so grotesque, yet so 
real, that laughter ended in a sigh. ... It is an inestimable loss 
our stage has suffered by the departure of two such actors." 

Mrs. Keeley's last appearance on the stage was at the " Testi- 
monial Benefit " to Mrs. Alfred Mellon {nde Woolgar), on May 15, 
1878, at Drury Lane Theatre. 

KELLY, CHARLES (a nom de thi&tre; Charles Wardell), 
the son of a clergyman living in the north of England, was born 
in 1839. Prior to entering the dramatic profession he held a 
commission in Her Majesty's Army. He made his first appearance 
on the stage at the Theatre Royal, Hull, in 1868, in the character 
of Montana (' Othello '). In London he has played at the Surrey, 
Holborn, Globe, Queen's, Royalty, Court, St. James's, Adelphi, 
and Haymarket Theatres in many parts, of which the following 
are deserving of particular mention. In October 1873, at the 
Globe Theatre, Mr. Kelly sustained his " original " part of Richard 
Arkwright in the drama of ' Arkwright's Wife ' (Tom Taylor), 
first performed at the Leeds Theatre Royal {see Barry, Helen). 


Mr. Kelly's acting in this part was noticed in the Gldbe (October j, 
1873) as " a genuine surprise. His insight into character and his 
powers of representation were those of a true artist, who has seen 
clearly the thought he seeks to realize, and has accurately measured 
the means at his command. . . . There was room for quiet 
artistic excellence, and that the actor knew how to supply. His 
tender, fond enthusiasm for the machine he had invented, and the 
sudden grief and despair at its destruction, were striking points in 
a piece of acting which was thoroughly interesting throughout." 
Having previously appeared in Charles Reade's plays of ' Rachel 
the Reaper ' and ' Griffith Gaunt ' at the Queen's Theatre in Long 
Acre, in 187; Mr. Kelly accepted an engagement at the Court 
Theatre, under the management of Mr. Hare. On Saturday, 
March 13 of that year, Mr. Kelly appeared there as Lord Melton 
in an original comedy by Charles F. Coghlan entitled ' Lady 
Flora,' in which he won the honours of the evening. In January 
. 1876, at the same theatre, first performance of 'A Quiet Rubber' 
(C. F. Coghlan), adapted from the French ' La Partie de Piquet,' 
Mr. Kelly played Mr. Sullivan. " In one point at least Mr. 
Coghlan's version is remarkably happy. By changing the scene 
to Irish ground he has converted the father of the intended bride 
into an admirable type of an Irish kind — a good-natured, quick- 
tempered, retired man of business, with a fund of native wit, and 
no less abundance of native readiness and warm feeling. These 
words, it is true, describe nothing new, and yet there is a great 
freshness in the sketch, thanks partly to the dramatist, but 
certainly in equal measure to Mr. Kelly, who plays his part with 
an overflowing, but unforced, vivacity, and with so many modest 
but effective touches of -nature, that it would be difficult to imagine 
anything more perfect in its way." {Daily News, January 10, 
1876.) In December of the same year, at the same theatre, in a 
revival of ' New Men and Old Acres ' (Tom Taylor and A. 
Dubourg), the part of Mr. Samuel Brown was sustained by 
Mr. Kelly. It may be remarked that the revival of this play was 
very successful, and that it remained on the " bills " of the Court 
Theatre for 250 consecutive nights. At the same house Mr. 
Kelly appeared as Darnley in ' The House of Darnley.' At St. 
James's Theatre, in ' Such is the Law,' he gained further reputation 
by his careful acting of Tom Goacher. At the Adelphi Theatre in 
1878 he played for a time the part of Pierre Lorance in ' Proof.' 
The same year, on Monday, December 2, at the Haymarket 
Theatre, first performance of 'The Crisis ' (James Albery), adapted 
from M. Emile Augier's ' Les Fourchambault,' Mr. Kelly presented 
m a remarkably able and finished way the character of John 
Goring. Easter Monday, April 14, 1879, at the same theatre, in 
an original comedy-drama in five acts, by W. G. Wills, entitled 
' Ellen ; or. Love's Cunning,' he played the part of Thomas Pye 
with admirable earnestness. This character and that of Ladv 
Breezy (sustained by Miss Blanche Henri), and the excellent 
acting which was displayed in their presentation, probably sug- 
gested to Mr. Wills to reconstruct his play, and reproduce its 


" comedy " scenes under the title of ' Brag,' Mr. Kelly playing his 
" original " character. ' Brag,' however, like ' Ellen,' failed to 
enlist the support of the public, and was immediately withdrawn. 


KEMBLE, FRANCES ANN; better known as FANNY 
KEMBLE. (Mrs. Fanny Butler.) Bom in London, 1809. 
Elder daughter of the late Charles Kemble, and niece of Mrs. 
Siddons. She made her first appearance on any stage, Monday, 
October 5, 1829, at the Theatre Royal, Covent Garden, then under 
the management of her father, in the character of Juliet (' Romeo 
and Juliet '). Her performance of the part was a great success. 
" The house was crowded before the curtain drew up. . . . On 
her (Miss Kemble's) first entrance she seemed to feel very sensibly 
the embarrassment of the new and overwhelming task she had 
undertaken. She ran to her mother's arms* with a sort of in- 
stinctive impulse, but almost immediately recovered her composure. 
From that time, although there was occasionally something like 
timidity inhermanner,there was not the slightest portion of awkward- 
,ness or even want of self-possession which might have been well 
pardoned in so young an actress. Her first scene with Romeo was 
very delicately and intelligently acted. In the garden scene she gave 
the exquisite poetry of the part with a most innocent gracefulness, 
and acted quite as well as she spoke. The scene with the Nurse 
was full of delightful simplicity. In the scenes which ensue Miss 
Kemble rose with the part. . . . Upon the whole we do not 
remember to have seen a more triumphant dibut. That Miss 
Kemble has been well and carefully instructed, as of course she 
would be, is clear ; but it is no less clear that she possesses qualifi- 
cations which instruction could not create, although it can bring 
them to perfection." {Times, October 6, 1829.) ' Romeo and Juliet ' 
was played to crowded houses (with Miss Fanny Kemble in the 
leading r6le) three times weekly until December 9, when Otway's 
' Venice Preserved ' was produced. Miss Kemble played the part 
oi Belvidera. Said the Marning' Chronicle (December 10, 1829): — 
" Belvidera, as our readers are aware, does not enter until near the 
close of the third act, and she is first heard speaking without. The 
moment the sound of her voice was caught the whole house was 
in a tumult, and boxes, pit, and galleries joined in one common 
endeavour to grace Miss Kemble's entrance. . . . The conclusion 
of the third scene of this act (the fifth) was marked with many 
vehement rounds of applause— where Belvidera imagines herself 
drowning, and the waves 'buzzing and booming round my sinking 
head.' We well remember and shall never forget the manner in 
which Mrs. Siddons uttered this line, and the fearful action with 
which that majestic woman accompanied it. Miss Fanny Kemble 
could not venture in her inexperience so near the boundary of the 

* Mrs. Charles Kemble was acting the character of Lady Capulet on this 
occasion, after several years' absence from the stage. 


sublime ; but, nevertheless, her manner was most striking and 
impressive, and she rushed from the stage with a terrific energy of 
action that has never been equalled in boldness and picturesque- 
ness from the time of Mrs. Siddons to the present hour." 

In January 1830 Miss Kemble appeared as Euphrasia in ' The 
Grecian Daughter.' According to the Athenaum (January 23, 
1830), her performance of Euphrasia confirmed more fully even 
than her acting in Belvidera the opinion formed on her first 
appearance in Juliet. " She has immense power, and cannot fail, 
if she continue on the stage, to prove an actress of the very first 
quality. . . . Her own taste will warn her against the effects of 
public applause when judiciously bestowed. We concur in the 
opinion which we find general that her Euphrasia in ' The Grecian 
Daughter' is her chef-d'oeuvre." The season closed May 1830, 
having been a most prosperous one for the management. In the 
following season Miss Kemble played these among other characters, 
viz. Mrs. Haller, Lady Townley, Calista ('The Fair Penitent'), 
Mrs. Beverley, Juliana (' The Honeymoon '), Lady Macbeth, 
and one or two Shakespearian parts. The year 1832 was a 
remarkable one in the annals of the Kemble administration of 
Covent Garden Theatre. On Thursday, March 15, was produced 
there ' Francis I.,' a tragedy written by Miss Fanny Kemble her- 
self ; and on Thursday, April 5, was performed for the first time 
Sheridan Knowles's play ' The Hunchback,' in which she was the 
" original " Julia. In the intervening period, Fanny Kemble had 
played a new part, The Duchess of Guise, in Lord Leveson-Gower's 
adaptation of A. Dumas' (the elder) tragedy, ' Henry III.' This 
play was unsuccessful. Nor was ' Francis I.,' in which Miss 
Kemble appeared as Louise of Savoy, a satisfactory success. It 
lacked a general interest, mainly owing to the unalloyed wicked- 
ness of nearly all the principal characters. Criticising the work as 
a literary effort, the Athenoeum took leave to doubt that it would 
be permanently successful. It lacked concentration. " There are 
eff'ective situations and clever scenes, but they have no connecting 
interest. . . . Much of it is just such dramatic poetry as a girl (a 
clever girl) of seventeen would write, the language of the poets, not 
of poetry ; and, as was very natural with a Kemble, the language of 
Shakespeare, fuU of ' By my fay,' and ' Sith you say,' and ' Wend 
your way,' and ' Go to, go to !' and ' Many, this means,' and all the 
other outward and visible signs of a school exercise. But of the 
living, breathing language of passion and nature there is little, and 
there is less of poetry, hardly the melody of the voice which we 
had anticipated and believed would have characterized the work, 
because it is the true mark of poetical feeling.''' {AthencBum, 
March 17, 1832.) Of Sheridan Knowles's production, the same 
journal had something of far greater moment to say. 'The 
Hunchback ' is a most delightful production — " every way a most 
delightful production ; good in plot, dramatic in composition, 
elegant, vigorous, and poetical in language, deep in knowledge of 
human nature, varied in display of the passions and affections 
which adorn or disfigure it, and admirable in their development." 


As to Miss Fanny Kemble's creation of the part of Julia, we sub- 
join the following excerpt : — " Of Miss Fanny Kemble it gives us 
real gratification to speak in temis of unqualified commendation. 
She has never appeared to so much advantage. We followed her 
throughout with constantly increasing satisfaction, and may truly 
affirm that a more perfect piece of acting has seldom been witnessed 
than her earnest and impressive appeal to Master Walter in the 
commencement of the fifth act. Genuine feeling took the place of 
laboured and measured emphasis — the picture was true to nature — 
it was difficult to imagine that she uttered any words but those 
which the emergency of the moment called forth, and at the close of 
her address, its truth and beauty were acknowledged by shouts of 
■ 'Bravo !' from all parts of the house." (Athenceum, April 7, 1832.) 
During the comparatively short period (three years) that Fanny 
Kemble was a member of her father's company, she revived the 
English national attachment to the stage, and achieved for the 
fallen fortunes of Covent Garden what the genius of the elder Kean 
enabled him to do for Drury Lane. In the autumn of 1832 with 
her father she visited America, and made her first appearance on 
the American stage, September 18 of that year, at the Park Theatre, 
New York, in the character of Bianca in ' Fazio.' Her first 
appearances at Philadelphia and at Boston were in the same part. 
From first to last, this joint venture of father and daughter was a 
triumph. January 7, 1834, Miss Kemble married Mr. Pierce 
Butler, a Southern planter, who died in Georgia, U.S.A., in 1867. 
Her married life was not altogether a happy one, and there was a 
separation, which ended (in 1848) in judicial proceedings for a 
divorce at Mrs. Butler's instigation. In 1847 she returned to 
England, and after thirteen years' absence from the stage made 
her reappearance at the Theatre Royal, Manchester, February 16, 
1847, in the character of Julia in 'The Hunchback.' She was 
welcomed with a warmth of applause which must have assured her 
of the sympathies of her English compatriots in regard to her then 
recent domestic troubles. " Long before the curtain rose last 
evening the house was crammed to the ceiling. On Mrs. Butler's 
entrance the excitement was immense. Round after round of 
applause, cheer after cheer welcomed her to this her first audience 
after so long an absence. Her first efforts showed how keenly she 
felt the warmth of her reception. . . . Her voice has lost none of 
its exquisite music, her attitudes and action are still as graceful 
and picturesque. . . . She showed that she had in the retirement 
of private life lost none of her intelligence, none of that fine poetic 
spirit with which her remembrance is linked." {Manchester Courier, 
February 17, 1847.) 

During the engagement which followed, she appeared in a round 
of her favourite characters, Juliana ('The Honeymoon'), Lady 
Macbeth, Juliet, Queen Katharine, &c. In May of the same year 
she reappeared at the Princess's Theatre, in London, and continued 
to act there during the season. She returned for a brief period to 
America, and once more came to England. In April 1848 Mrs. 
Butler commenced a series of Shakespearian readings at Willis's 


Rooms, which, although well attended, did not attract the critical 
attention of the Press. October 1849 she gave her first Shake- 
spearian reading (from ' King John') in America, at Sansom Street 
Hall, Philadelphia. After this date she resumed her maiden name, 
and retired to Ler^iiox, Mass., U.S.A., where she resided for nearly 
twenty years. In 1868 Miss Fanny Kemble reappeared as a 
reader at Steinway Hall, New York. In 1873 she went to reside 
near Philadelphia; and in 1877-8 again returned to England. 
Miss Kemble is the author of the following works : — ' Francis I.' 
(a tragedy); 'Journal of a Residence in America' (1835); 'The 
Star of Seville' (1837); ' A Year of Consolation' (1847): 'Mary 
Stuart,' translated from the German of Schiller ; ' Mademoiselle 
de Belle Isle,' a paraphrase in prose of Dumas' work; 'Residence • 
on a Georgian Plantation in 1838-9,' published in 1863; 'Records 
of a Girlhood,' published in 1 878. "In the late Justice HalUburton's 
' Letter-bag of the Great Western,' giving life-like portraits of indi- 
viduals, their manners, style, feelings, and expression, will be found 
' The Journal of an Actress,' in which the cleverness and audacity, 
refinement and coarseness, modesty and bounce, pretty humility 
and prettier arrogance of Miss Fanny Kemble were touched off in 
a style which all the world could identify, and the lady herself 
could not turn her lip at except to smile at the skill with which her 
literary merits and affectations were imitated so as to be like reality." 
{Aihenaum, September 22, 1865.) 

KEMBLE, HENRY, was born June i, 1848, and is a son of 
Captain Henry Kemble (son of Charles Kemble, the eminent 
tragedian). He was educated at Bury St. Edmunds and King's 
College, London, and, afterwards, was for a period of two years in 
the Civil Service of the Crown. He resigned his official appoint- 
■ment, and entered the dramatic profession in 1867, making his first 
appearance on the stage at the Theatre Royal, Dublin, on the 
7th of October of that year. From 1867 to 1869 he was a member 
of the company of the above-named theatre; from 1869 to 1871 of 
the company of the Theatre Royal, Edinburgh; and from 1871- to 
1873 of the company of the Theatre Royal, Glasgow; the line of 
" business " ordinarily undertaken by him being " first old men and 
character parts." During the probationary period of his professional 
career, Mr. Kemble appeared with success at the Theatres Royal, 
Newcastle-on-Tyne and Scarborough. He made his dSut in 
London August 29, 1874, at the Theatre Royal, Drury Lane, in 
the part of Tony Foster, in Andrew Halliday's play 'Amy Robsart.' 
During the season 1874-5, at the same theatre, he played the 
following parts, viz. Cedric the Saxon, in ' Rebecca ' ; Philip of 
France, in 'Richard Coeur de Lion'; the ist Actor, in 'Hamlet'; 
Old Capulet, in ' Romeo and Juliet ' ; and Dr. Caius, in ' The 
Merry Wives of Windsor.' This- latter impersonation was very 
successful, and secured for Mr. Kemble favourable notice in various 
journals. On March 13, 1875, he joined Mr. Hare's company, on 
that gentleman's entering upon the management of the Royal 
Court Theatre. Here Mr. Kemble "opened " as Short, in a piece 

KENDAL, MRS. W. H. 23$ 

entided ' Short and Sweet,' and as Binns, in ' Lady Flora.' This 
part, although a subordinate one, was performed by Mr. Kemble 
with excellent judgment, and may be recorded among his legitimate 
successes on the stage. Another part, also, in which his careful 
acting received approval, at the same theatre, was that of Dr. Pen- 
guin, in 'A Scrap of Paper' (A. Wigan), adapted from M. Sardou's 
play ' Les Pattes de Mouche.' Subsequently Mr. Kemble joined 
the company of the Prince of Wales's Theatre, of which he still 
remains a member. He has performed at that theatre the following 
characters, viz. Crossby Beck, in ' Peril ' ; Sir Sowerby Honeywood, 
in ' An Unequal Match ' ; Waddilove, in ' To Parents and Guar- 
dians ' ; Sir Oliver Surface, in ' The School for Scandal ' ; John 
Chodd, in ' Society ' ; and Algie Fairfax, in ' Diplomacy ' — each iii 
a way deserving of recognition. 

KENDAL, MRS. W. H. (Mrs. W. HUNTER Grimston, nie 
Robertson, Margaret [' Madge ']), was born at Great Grimsby, 
March 15, 1848, and was educated to the stage as a profession from 
early childhood. At the age of four (in 1852) she appeared at the 
Marylebone Theatre as the Blind Child, in ' The Seven Poor 
Travellers'; and in 1855 at the Bristol Theatre as Eva, in a 
dramatic version of ' Uncle Tom's Cabin.' It may be remarked 
that Mrs. Kendal's early tuition as an actress was principally 
received at the Theatres Royal Bristol and Bath, under the manage- 
ment of the late Mr. J. H. Chute. On Saturday, July 29, 1865, she 
made her professional dibut in London at the Haymarket Theatre 
as Ophelia, in a revival of ' Hamlet ' by the late Walter Mont- 
gomery, who played the leading rdle. Her acting on that occasion 
created a favourable impression; and on Monday, August 21 of 
the same year, at the same theatre, she acted the part oi Desdemona, 
Mr. Ira Aldridge sustaining the role of Othello. After fulfilling 
engagements at Nottingham and Hull, in 1867 Miss Robertson 
returned to London, and on Easter Monday of that year, at Drury 
Lane Theatre, played the part of Edith, the heroine, on the occasion 
of the first performance of 'The Great City' (Andrew Halliday). 
The following year, at the Haymarket Theatre, first performance 
(Saturday, March 14) of Dr. Westland Marston's play ' A Hero of 
Romance,' Mr. Sothern in the leading character, she acted the part 
of Blanche Dumont, being " more than equal to the character, and 
investing it with beauty and pathos " {Athenceum, March 21, 1868). 
At the same theatre, in July, she sustained the part of Hypolita, in 
a revival of CoUey Gibber's comedy ' She Would and She Would 
Not'; and on Monday, December 21, 1868, at the opening of 
the Gaiety Theatre, appeared in a piece entitled ' On the Cards,' 
then performed for the first time. In March of the following 
year (1869), at the same theatre, Miss Robertson sustained the 
part of Lady Clara Vere de Vere, in her brother, the late T. W. 
Robertson's play entitled 'Dreams.' On Monday, October 25, 
1869, at the Haymarket Theatre, first performance of Messrs. Tom 
Taylor and Dubourg's comedy of ' New Men and Old Acres,' Miss 
Robertson undertook the character of Lilian Vavasour. "The 


theme of Messrs. Taylor and Dubourg's comedy is the very old one 
of contrast and conflict between the old class and the new — the 
aristocratic landed gentry and the wealthy self-made men of our 
day. . . . The comedy, though wanting anything hke that view of 
serious interest which can alone take hold of the hearts of an 
audience, is lively and amusing throughout, while the dialogue, 
which is generally clever and pointed, sometimes attains even 
higher merits. But the acting of Miss Robertson, who sustained 
the part of Lilian, might alone have sufficed to secure success for 
a work of far inferior merits. A young lady who talks slangy 
corrupted by the society of a sporting cousin, would be a dangerous 
part in ordinary hands ; but Miss Robertson's performance in ho 
part degenerated into anything like vulgarity. There was a neat- 
ness and a finish not only in her delivery of the words, but in all 
her movements, including that indefinable filling up of time known 
to the actors as ' business,' which belong to the very best school of 
comedy-acting. Nor is she much less at home in the more pathetic 
portions of her part, particularly in the scene in which, in view of 
the wealthy parvenu's succession to her father's property, sha 
bespeaks his favour and kindness for old objects of her bounty, not 
forgetting her dog and the peacock with one eye ; and, again, in a 
later portion, in which she freely offers herself, when rich, to the 
man who loves her, and who had not disdained her when presump- 
tively poor — both of which dramatic situations were greeted by the 
house with well-merited applause." (Daily News, October 26; 1 869.) 
In 1870, at the same theatre, in a revival of 'The Rivals' 
(Monday, October 24), Miss Madge Robertson appeared as Lydia 
Languishj and on Saturday, November 19 of the same year, at 
the same theatre, she sustained the part of Princess Zeolide, first 
performance of Mr. W. S. Gilbert's play ' The Palace of Truth,' 
which was a complete success. In the same author's play of 
' Pygmalion and Galatea,' first performed at the same theatre, 
„_ Saturday, December 9, 1871, she acted the leading female r6le, 
^ ' Galatea; and in ' The Wicked Woi'ld,' by the same author, first 
performed Saturday, January 4, 1873, Miss Robertson played the 
part oi Selene. In each of the three plays Miss Robertson's acting 
was admirable. On Saturday, January 3, 1874, in a new play by 
Mr. Gilbert, entitled ' Charity,' she played the principal character, 
Mrs. Van JBrugh, and, according to the Athenmum (January 10, 
1^174), obtained at the end of the third act a triumph more spon- 
taneous and overwhelming than has often been accorded an artist.- 
" The audience literally rose to greet her. Dehght in finding 
deeper qualities in an actress known principally for her comic 
personations must be accepted as the reason for this. In fact, 
the acting was not equal to the reception. Miss Robertson's pathos 
was studied. The actions were good but not affecting until the 
very close of the situation. Momentarily she then reached in- 
spiration, producing upon the audience the mai-vellous effect de- 
scribed." The Daily Telegraph (January 5, 1874), discussing the 
merits of the same performance, said : — " The Mrs. Van Brugh of 
Miss Robertson was in many respects so admirable, and, from a 
popular point of view, such a triumph, that we have the less hesita- 

KENDAL, MRS. W. H. lyj 


tion in asking this most intelligent lady to consider the character 
/ as a whole ; to live in it, and breathe in it throughout, and to work 
up every scene and half-scene to the same pitch of excellence as 
I that great burst of combined power and pathos which took the 
j house by storm at the close of the third act. This great scene was 
1 a complete and successful study, and will be still more remark- 
able a study when the anxious excitement of a first night does 
not exist. We do so want power ; we do so ask for expression ; 
we do sd demand acting which shall soar above commonplace, 
that we are grateful for -this remarkable outburst. As an example 
of study of light and shade, it is extremely interesting ; as an 
instance of change of key and contrast of harmony, it is most 
I creditable. The pleading, agonized despair of the detected woman, 
\ the outburst of rage and scorn, the quick hysterical summons 
\ to the family, the wealth of love over the innocent child, and the 
I sad, yet solemn confession, are rapid instances of successful art 
; rarely seen nowadays on the stage. The true ring of genius was 
; perhaps wanted, but the acting made a dull English audience leap 
[ to its feet, and wave hats and handkerchiefs. The audience was 
,; possibly not familiar with inspired genius, and looked for an out- 
I burst at the close of the third act. With so much gained. Miss 
I Robertson may surely avoid staginess, passim. The perpetual roll 
; of the eyes, the stilted walk, and the seeming neglect of many scenes 
i of high comedy, astonish those who so much admire individual 
i passages. There is acting to be done in moving, in speeches which 
j have no particular weight, and even in listening. The important 
scene in which Smailey first suggests a fault on the part of Mrs. 
Van Brugh was worth mastering ; and when we remember the true 
and admirable expression of the actress on hearing of Ted Athel- 
ney's love for her daughter, we know well what the actress can do. 
In these new-fangled days it is not the highest art to rush at the 
telling speeches, or at the obvious acting positions ; a Descl^e has 
taught us how an actress can live and breathe in a character. 
Miss Robertson's Mrs. Van Brugh is a very remarkable perform- 
ance, eminently superior to the ordinary run of English art, 
graceful and highly intelligent. If it were only less stagey in parts, 
the performance would be more acceptable." 

At Christmas 1874 Miss Robertson left the Haymarket Theatre 
for a short engagement of eight weeks at the Opdra Comique, 
commencing Monday, January 18, 1875. During this engagement 
she appeared as Pauline Deschapelles in ' The Lady of Lyons ' ; 
as Rosalind in 'As You Like It'; and as Miss Hardcastle ifl 
' She Stoops to Conquer,' considered one of the most successful 
of her impersonations. In March 1875 she joined the company 
at the Court Theatre, under the management of Mr. Hare, and 
played during the season in ' Lady Flora,' ' A Nine Days' 
Wonder,' 'Broken Hearts,' 'A Scrap of Paper,' 'Uncle's Will,' 
&c. Subsequently Miss Robertson (now Mrs. Kendal) joined the 
company of the Prince of Wales's Theatre, and, perhaps, the most 
noteworthy success she met with there was in the part of Dora in 
the English version of M. Sardou's play of that name, entitled 
f Diplomacy,' first performed January 12, 1878. " Of the acting of 


the play we can speak with more unqualified praise. It does 
not, it is true, rise to the level of force and pathos demanded 
by the most passionate and tender of its scenes, but it is always 
careful aiid well proportioned, and within the bounds of good taste. 
It is rather the result of the curtailment of the exposition of the 
play than the fault of Mrs. Kendal that the exclamation of joyous 
surprise with which Dora receives an offer of marriage fails to pro- 
duce the simple touching effect of Mdlle. Blanche Pierson's utter- 
ance of the same words. The position is an extremely delicate one, 
for the young lady has really to indicate mingled pleasure and 
astonishment that at last she has a lover who is an honourable 
man. For us to feel its spirit it was necessary that the character 
of Dora should be drawn in the first place, not in meagre outline, 
but in full detail; but this is denied, and hence the exclamation 
could hardly fail to give a slight shock to the hearer's sense of 
propriety. Among many exceUent details in Mrs. Kendal's im- 
personation we ought to note the perfectly unsuspecting and un- 
hesitating innocence of her tone and manner when, seated at the 
table, her husband begins to unfold the suspicions against her." 
{Daily News, January 14, 1878.) On Saturday, January 4, 1879, 
Mrs. Kendal and her husband " opened " at the Court Theatre in 
a revival of ' A Scrap of Paper,' Mrs. Kendal resuming her part 
of Susan Hartley. On Saturday, February 15, she appeared as 
Countess D'Autreval in a revival of 'The Ladies' Battle' ('La 
Bataille des Dames ' of MM. Scribe and Legouvd) ; and on Satur- 
day, April 19 of the same year, at the same theatre, as Kate 
Greville in ' The Queen's Shilling ' (G. W. Godfrey), a new version 
of ' Le Fils de Famille,' first performed in London on the date last 
mentioned, and afterwards played at the opening of St. James's" 

KENDAL, W. H. (a nam de thiAtre ; WILLIAM HUNTER 
Grimston), was born in London, December 16, 1843, ^^^d entered 
the dramatic profession in 1861, appearing on the stage for the first 
time, in London, at the Soho, now the Royalty Theatre. The 
following year Mr. Kendal joined the company of the Theatre 
Royal, Glasgow, where he remained until 1866. During this long 
engagement he had the advantage of acting in association with 
such well-known " stars " as the late G. V. Brooke, the Keans, the 
Boucicaults, Mr. Anderson, and Miss Faucit. Mr. Kendal made 
his professional dtttit in London, October 31, 1866, at the Hay- 
market Theatre, in a piece entitled ' A Dangerous Friend,' and met 
with gratifying success. On Monday, September 2, 1867, at the 
same theatre, he appeared as Orlando in a revival of 'As You 
Like It.' " He was well suited to the part, and his style is at once 
elegant and vigorous, and likely, we think, to become popular." 
{AthencBum, September 7, 1867.) The following year, in July, he 
played Don Octavio in a revival of Gibber's comedy ' She Would 
and She Would Not'; and on Monday, December 7, 1868, first 
performance at the Haymarket Theatre of ' Pietra,' adapted from 
Mosenthal's tragedy of that name — Miss Bateman in the title r6U 
— Mr. Kendal sustained the part of Manfred. He was in the 

KENDAL, W. H. 239 

original cast of 'Mary Warner' {see Bateman, Kate), produced 
at the Haymarket, and of ' Uncle's Will,' a comedietta written ex- 
pressly for Mr. Kendal and Miss Robertson by Mr, Theyre Smith. 
Mr. Kendal continued to play at this theatre for some time, taking 
important parts {Captain Absolute, Charles Surface; &c.) in the 
old comedies, and appearing in Mr. W. S. Gilbert's most successful 
plays, ' The Palace of Truth ' ( Prince Philamine), ' Pygmalion 
and Galatea' {Pygmalion), 'The Wicked World' {Ethais), and 
' Charity ' {Frederic Smailey), on the occasion of their first per- 
formance. {See Kendal, Mrs. W. H.) 

In January 1875 Mr. Kendal, with his wife, fulfilled a short 
engagement at the Opdra Comique, under the management of Mr. 
Holhngshead, the plays in which they appeared together being 
' The Lady of Lyons,' ' As You Like It,' and Goldsmith's comedy 
of 'She Stoops to Conquer.' On March 12 of the same year 
Mr. and Mrs. Kendal " opened " at the Court Theatre, under the 
management of Mr. Hare, and appeared in the following pieces, 
viz. ' Lady Flora,' ' Nine Days' Wonder,' ' Broken Hearts,' and 
'A Scrap of Paper.' In 1876 Mr. Kendal went to the Prince of 
Wales's Theatre, under the management of Mr. and Mrs. Bancroft, 
and appeared there in ' Peril ' and ' London Assurance,' and later 
in the English version of M. Sardou's play of ' Dora,' entitled 
' Diplomacy,' first performed January 12, 1878. In this play Mr. 
Kendal sustained the part of Captain Beauclerc. " The famous 
' Scfene des trois hommes ' could hardly have been received with 
more enthusiasm when represented by MM. Berton, Train, and 
Dieudonnd to the great delight of a Parisian 'first-night' audience; 
and though the marvellous dramatic power, variety, and truth of 
this memorable episode have a necessary tendency to weaken the 
impression of subsequent scenes, the story was from this point, 
at least, followed with eager interest until the curtain fell amidst 
hearty and genuine applause. . . . The performance of the scene 
[of 'the three men'] by Mr. Kendal, Mr. Clayton, and Mr. Bancroft 
was exceedingly spirited and nicely marked in all its transitions 
of passionate feeling. Of the striking effect which it produced we 
have already spoken," {Daily News, January 14, 1878.) 

" In the first of the great scenes the acting of Mr. Bancroft, Mr. 
Kendal, and Mr. Clayton, respectively impersonating the friend, 
the husband, and the brother, could not well be bettered. The 
situaltion is in itself very striking, and presented as it is by these 
three gentlemen, it brought down, from all quarters of the house, 
such applause as is seldom heard in this theatre, where satisfaction 
is wont to be expressed after a somewhat languidly decorous 
fashion. Mr. Kendal, we confess, fairly surprised us. He has 
long been credited with the pleasant expression of the easy graces, 
and fancies of the comedian, but for the exhibition of so much 
feeling and power few were, we suspect, prepared." {Times, 
January 21, 1878.) On Saturday, January 4, 1879, Mr. Kendal 
and his wife " opened " at the Court Theatre, in a revival of 'A 
Scrap of Paper,' in which he acted Colonel White. Saturday, 
February 15, in a revival of ' The Ladies' Battle,' he played Gustave 
de Grignonj and on Saturday, April 19 of the same year, at the 


same theatre, the part of Frank Maitland in 'The Queen's ShiUing' 
(G. W. Godfrey), a new version of ' Le Fils de FamiUe of MM. 
Bayard and Bieville. He is now co-manager with Mr. Hare of St. 
James's Theatre. 

KENNEY, ROSA, is the daughter of Mr. Charles Lamb Kenney, 
a litterateur of some distinction, and the grand- daughter of Mr. 
Tames Kenney, the dramatist. Miss Kenney made her first appear- 
ance on any stage January 23, 1879, in a morning performance at 
Drury Lane Theatre, in the character of Juliet in ' Romeo and 
JuHet.' Several weeks later she appeared at two matindes at the 
Princess's Theatre in the same part, and as Pauline in ' The Lady 
of Lyons.' At the reopening of the Royal Court Theatre, Sep- 
tember 20, 1879, under the management of Mr. Wilson Barrett, 
Miss Kenney took the character of Fernande in Sutherland 
Edwards's adaptation of Sardou's ' Fernande ' ; btit subsequently 
retired from the part. 

KING, T. C, was born at Cheltenham in 1825, and entered the 
dramatic profession at a comparatively early age, making his first 
appearance on the stage proper at the Theatre Royal, Birmingham, 
under Mr. Mercer Simpson's management. Afterwards he joined 
the "York Theatrical Circuit," under Mr. John Langford Pritchard, 
and played various parts in the Shakespearian and legitimate 
drama at the Theatres Royal, York, Leeds, and Hull. Sub- 
sequently Mr. King fulfilled a lengthened engagement at the 
Edinburgh Theatre, under Mr. William Murray, appearing princi- 
pally in Shakespearian characters. He made his dibut on the 
London stage at the Princess's Theatre, July 22, 1857, when that 
theatre was under the management of the late Mr. Charles Kean, 
in the part of Bassanio (' Merchant of Venice '), Mr. Kean acting 
Shylock. Remaining a member of the company of the Princess's 
Theatre for two years, Mr. King, at the end of that period, relin- 
quished his engagement for a " starring " tour in the principal 
theatres of the provinces, which was attended with gratifying suc- 
cess. At Dublin he became an especial favourite, and his per- 
formances at the Theatre Royal in ' Hamlet,' ' Othello,' ' Macbeth,' 
' Merchant of Venice,' ' Richelieu,' &c., attracted large and appre- 
ciative audiences. In 1868 Mr. King accepted an offer of an 
engagement from Mr. F. B. Chatterton, and in March of the year 
following made his reappearance on the metropolitan stage at 
Drury Lane Theatre in the character of Richelieu. " In the later 
acts, when Richelieu sees his fortunes desperate, and places in the 
hands of the king his resignation, the dignity and pathos of Mr. 
King's acting were great, and took complete hold upon the audience, 
Mr. King has a fine presence and commanding look. His voice 
is musical, his pronunciation is good, and his attitudes are all well 
chosen and expressive." {Athenceum, March 20, 1869.) 

On Thursday, March 18 of the same year, he appeared at the 
same theatre as Hamlet, and subsequently as Othello and lac^o, 
acting those parts alternately with Mr. Charles Dillon. Later Mr 

KING, T. C. 241 

King acted the part of Macbeth. These performances were favour- 
ably noticed in the Standard : — "The winter dramatic season was 
brought to a close on Saturday, the performance during the final 
week being remarkable for the diversity of the entertainment, and 
the appearance on the London stage of a tragedian of the first rank 
in the person of Mr. T. C. King. Of Mr. King's first appearance 
as Richelieu we have already spoken. On the occasion of his 
second appearance, on Thursday, Mr. King played Hamlet, his 
performance of the Danish prince giving evidence of careful study, 
together with a thorough comprehension of character. Mr. King 
possesses many qualifications calculated to make him a good ex- 
ponent of the part — a tall and commanding figure, graceful and 
easy movements, an intelligent face, and a full-toned sonorous 
voice. His impersonation of the mad prince may Ank among 
the highest efforts of the present day; all those touches of tender 
pathos with which the character abounds were thoroughly, though 
not obtrusively, brought into prominence, while in all other por- 
tions of the play the power of the actor was rendered fully ap- 

During the season 1870, at the same theatre, Mr. King played 
the following, among other parts, with much success, viz. William 
Tell'vn. Sheridan Knowles's play of that title; Julian St. Pierre in 
the same author's play of ' The Wife ' ; and Varney on the occa- 
sion of the first performance, Saturday, September 24, 1870, ot 
'Amy Robsart.' It has been remarked that, in his portrayal of 
Shakespearian tragedy, Mr. King is "earnest and impassioned, 
tender and pathetic, declamatory and conversational, as suits the 
character he represents, and in all the varying moods and feelings 
that actuate him he is true to nature." The Saturday Review, 
in a notice of his performance oi Macbeth at Drury Lane Theatre 
in 1870, remarked that " Mr. King has all the attributes of a 
first-class tragedian. No such actor has appeared on the boards 
of old Drury since Macready bade farewell to the stage in the same 
character {Macbeth).^'' Since his last appearance in London Mr. 
T. C. King has fulfilled several successful " starring " engagements 
in the provinces. 


LACY, WALTER, was born in 1809, and made his first appear- 
ance on any stage at the Theatre Royal, Edinburgh, in 1832 as 
Count Montalban in 'The Honeymoon.' Subsequently he played 
various engagements in Glasgow, Manchester, and Liverpool ; and 
made his dibut on the London stage in August 1838, at the Hay- 
market Theatre, as Charles Surface ('School for Scandal'), Miss 
Taylor — an actress who was the' " original " Helen in ' The Hunch- 
back,' and of considerable repute on the London stage in the 
second quarter of the century — playing Lady Teazle. This lady 
afterwards rtiarried Mr. Walter Lacy, and " for twenty years played 
leading comedy, tragedy, and Vestris-business at Covent Garden, 
Drury Lane, or the Haymarket, during the last twelve acting as 
Mrs. Walter Lacy, and shining especially in Shakespearian 
women."* Following his first appearance on the London stage 
Mr. Lacy was engaged for three years at the Haymarket Theatre. 
After this he accepted a three years' engagement at the Theatre 
Royal, Covent Garden, " opening " as Captain Absolute in ' The 
Rivals,' Madame Vestris playing Lydia Languish. Among the 
company of this theatre, during Mr. Lacy's connection with it, 
were Messrs. George Hartley, Charles Mathews, F. Vining, George 
Vandenhofif, John Cooper, William Farren, F. Matthews, J. P. 
Harley, John Brougham, Alfred Wigan, and Mesdames Nesbitt, 
Vestris, Glover, W. Lacy, Brougham, H. Bland. Later, Mr. 
Lacy became a member of the company of the T. R. Drury 
Lane, "opening" there as Wildrake, Mrs. Nesbitt acting Con- 
stance. He was for seven years connected with the Princess's 
Theatre under Mr. Charles Kean's management, " opening " there 
Saturday, September 18, 1852, as Rouble, first performance of 'The 
Prima Donna' (Boucicault). During the same evening he played 
Chateau Renaud ('The Corsican Brothers') and Alfred Highflyer 
('Roland for an Oliver'). "These were brilliantly contrasted 
characters, affording splendid opportunity for an artist to establish 
himself. Of such an opportunity the severity of my early training 
and the varied experience of my career enabled me to take full 
advantage. . . . After the first act of ' The Prima Donna ' Charles 
Kean came to my dressing-room to congratulate me on my ' make- 
up ' and acting in Rouble; and at the conclusion of ' The Corsican 
Brothers ' I was cheered by the whole house. The manager and 
manageress were delighted, and Mr. Bayle Bernard came on to the 
stage with the late Douglas Jerrold to compliment me on 'the 
originality and finish of my acting.' Next morning Charles Mathews 
and Madame Vestris called me to their carriage in the middle of 
Regent Street and heartily congratulated me. . . . My ' make-up ' 
hit the house and was the key-note of the new rendering of the 

* From a letter addressed by Mr. Walter Lacy to Mr. W. Clark Russell, 
Editor of ' Representative Actors ' (p. 442). 


part."* "Rouble, the generous, wrong-headed millionaire, always 
- fighting for his mistress, and. always offending her, was admirably 
dressed and played by Mr. Walter Lacy, who is a new addition 
to the company. His ludicrous distress, tempered in the oddest 
manner by a sort of cold nonchalance, made up one of those 
characteristic inconsistencies which stand out in the memory from 
the level of ordinary stage routine. Mr. Lacy is really an artist 
well known and esteemed by habituds of the theatres, although of 
late years hidden from the view of the general public. His per- 
formance of Chateau Renaud in 'The Corsican Brothers,' which 
followed ' The Prima Donna,' was a great instance of his care and 
judgment in a part quite out of his usual line, and in which he had 
aU the disadvantage of appearing after an excellent predecessor." 
{Times, September 20, 1852.) Subsequently Mr. Lacy accepted 
engagements at the Olympic, Lyceum, Strand, St. James's, and 
Charing Cross Theatres. Of the parts played by him during his 
long and honourable connection with the London stage the following, 
in the plays to which each relates, are entitled to special mention, 
viz. Benedick, Mercutio, Faulconbridge, Malvolio, Touchstone, 
Cloten (' Cymbeline '), Prospero, Gratiano, Roderigo, Henry the 
Eighth, Young Marlow, Sir Brilliant Fashion, Goldfinch, 
Flutter, Tony Lumpkin, Acres, Dazzle, Dudley Smooth, Sparkish, 
Megrim (' Blue Devils '), Ghost (' Hamlet '), Lord Trinket, Lord 
Tinsel, My Lord Duke (' High Life Below Stairs "), Jeremy 
Diddler, Puff{' The Critic '), Sir Anthony Absolute. For a period 
of sixteen years Mr. Lacy has been Professor of Elocution at the 
Royal Academy of Music. In April 1879, on the occasion of the 
revival by Mr. Henry Irving at the Lyceum Theatre of ' The Lady 
of Lyons,' Mr. Lacy sustained the part of Colonel Damas. The 
Times (April 19, 1879) makes mention of his reappearance, after 
a long period of retirement, as lending an additional feature of 
interest to the revival. In Mr. Walter Lacy's hands (remarked 
this journal) " Colonel Damas exhibited a nature gentler and more 
subdued than that with which most actors have been wont to 
invest that worthy soldier ; yet there were stiU distinctly to be 
traced those enduring remains of a -skilled and carefuj training 
>vhich neither time nor long disuse are ever able wholly to efface." 

LARKIN, SOPHIE, made her d^but on the London stage, 
September 25, 1865, at the Prince of Wales's Theatre as Mrs. 
Pontifex in 'Naval Engagements.' On November 11, 1865, she 
played, at the same theatre, the part of Lady Ptarmigant, first, 
performance of T. W. Robertson's comedy ' Society ' ; on Septem- 
ber 15 1866, the part of Lady Shendryn, first performance at the 
same theatre of the same author's play of ' Ours ' ; and on 
Api-il 6, 1867, the character of Marquise de Saint-Maur, first 
performance at the same theatre of the same author's play of 
'Caste.' On January i of the following year she " opened " at 
St. James's Theatre as Mrs. Erskine Meek in H. T. Craven's 

* ' Representative Actors,' W. Clark Russell, pp. 39S-9. 


comedy ' The Needful,' then first performed ; and in the following 
month, at the same theatre, sustained the part of Patty Probity in a 
revival of the same author's play of ' The Chimney Corner.' The 
same year (1868) Miss Larkin joined the company of Miss Fanny 
Josephs, who, on April 13, re-opened the Holborn Theatre with 
Burnand's extravaganza ' The White Fawn,' in which Miss Larkin 
appeared as Qjieen Harmonia. During 1869 she played Mrs, 
Raby in a revival of H. T. Craven's ' Miriam's Crime ' at the same 
theatre; and for the benefit of Mr. Lionel Brough (March 15) 
acted excellently the part of Mrs. Hardcastle (' She Stoops to 
Conquer at the Queen's Theatre. At St. James's Theatre, in 
AprU 1870, Miss Larkin appeared in a version of 'Frou-Frou,' 
produced by the late Mdlle. Beatrice, as Baroness de Cambri. On 
Saturday, October 7, 187 1, first performance at the Globe Theatre 
of H. J. Byron's comedy ' Partners for Life,' she played the part of 
Priscilla Mervyn. Miss Larkin was also in the original cast of 
the same author's comedy ' Our Boys,' first performed at the Vaude- 
ville Theatre on January i6, 1875. She sustained the character of 
Clarissa Champneys, and continued to appear in the part during 
the unprecedented run of the piece. {See Byron, H. J.) On the 
withdrawal of this play and production at the same theatre of ' The 
Girls,' a new and original comedy from Mr. Byron's pen, Miss 
Larkin " created " the part of Mrs. Clench. 

LA TROBE, MRS. See ADDISON, Carlotta. 

LAVERNE, PATTIE, was born in London, and first appeared 
in public as a concert-singer, making her dibut at the Hanover 
Square Rooms, in 187 1. Being possessed of a powerful, flexible, 
and true soprano voice, united with considerable power of ex- 
pression, she met with some success in oratorio and concert at St. 
James's Hall, and other places in London, and at the Free Trade 
Hall, in Manchester. Her first appearance on the stage was made 
at Preston, in the character of the Grand Duchess, in Offenbach's 
opera of that title, during a tour with Mr. John Russell's company 
in Lancashire, in 1871. The following year, when Mr. Hingston 
opened the Op^ra Comique in London, for Opera Bouffe, Miss 
Laverne became a member of his company. In October 1872 at 
that theatre, she played the part of Dindorette in ' L'GEil CrSvd.' 
" Nothing could have been prettier in its way than the Dindorette 
of Miss Pattie Laverne, a most attractive young lady, with a very 
decided talent for sprightly acting. Her first song, ' If perchance 
my lover,' was encored, and fully merited the compliment. The' 
duet at the end of the scene was equally successful, and throughout 
the opera Miss Laverne was as piquant and sparkling as possible, 
and added greatly to the success of the piece." {Era, October 26, 
1872.) At the same theatre, during the season 1872-3, she played 
the parts of Little Tom Tug, Guillerette, in ' The Bohemians,' and 
Kissi-Kissi in the operatic trifle of that title, " deserving all praise 
for her spirited and piquant impersonation of the boy-girl, Kissi- 
Kissi. Her sprightliness and really admirable singing were of the 


most essential service to the success of the httle piece ; and the 
part is one difficult to sustain without offence." {Standard, July 14, 
1873.) Upon the production of ' La Fille de Madame Angot,' at 
the Opdra Comique, under the joint management of Messrs. John 
HoUingshead and Charles Morton, Miss Laverne played the part 
of Clairette, and during a subsequent provincial tour with Mr. 
W. H. Liston sustained the same character with marked success. 
She has since represented most of the leading female parts in 
Opera Bouffe, including Girqfld-Girofla, Boulotte in 'Barbe Bleue,' 
Trainette in 'Pom,' and the title rSle in Cellier's opera, 'Nell 
Gwynne,' produced with much success at the Prince's Theatre, 
Manchester. Of the part of Boulotte, played by Miss Laverne at 
Liverpool, the following criticism was published : — " Miss Pattie 
■Laverne played, not as is generally done, merely gracefully, but 
with great care. In place of tacitly appealing to the audience, 
she set herself to make the most of what is at the best a disagree- 
able character. Boulotte being coarsely drawn requires the most 
delicate treatment, and there is little doubt that in the hands of 
a less skilful player it would have been absolutely disagreeable." 
{Liverpool Daily Post, August 28, 1877.) 

* LAWLER, KATE, previous to her ddbut on the London stage, 
had earned some repute in the provinces as an earnest and pains- 
taking actress ; the character of Smike in ' Nicholas Nickleby' 
being among the parts which she has performed with more than 
ordinary success. Miss Lawler made her first important appear- 
ance in London at the Gaiety Theatre, in October 1878, as Sally 
Scraggs in an amusing trifle entitled ' Stage Struck.' In this 
piece she exhibited humorous talent of a very varied kind. Miss 
Lawler has, during her engagement at the Gaiety, appeared in the 
later burlesques placed on its stage. 

* LEATHES, EDMUND, made his dibut on the London stage 
March i, 1873, at the Princess's Theatre, as Gratiano in 'The 
Merchant of Venice.' In November of the same year he played 
with considerable success the title role in Charles Reade's drama 
' The Wandering Heir ' at the Queen's Theatre, " showing himself a 
promising actor, with much grace of presence and purity of style, 
and likely to prove a competent representative of the Doricourts 
and Wildairs of old comedy, a class of parts lost of late years 
to the stage" {Athenaum, November 22, 1873.) In October 1874, 
and during the " run " of ' Hamlet ' at the Lyceum Theatre, Mr. 
Leathes admirably sustained the part of Laertes. Two years later 
(September 1876), in a revival at the Court Theatre of Boucicault's 
' Led Astray,' he acted George de Lesparre. It is understood that 
Mr. Leathes has now retired from the stage. 

LECLERCQ, CARLOTTA (Mrs. John Nelson), born in 
London ; elder daughter of the late Charles Leclercq, for many 
years favourably known in dramatic circles in Manchester and 
London as a skilful ballet-master, pantomimist, and stage-manager, 


and, also, actor in a certain range of parts. Miss Leclercq was 
educated to the stage from childhood, and, as a child, played in 
extravaganza at various London theatres. At Christmas, 1 850-1-2, 
she undertook the part of Columbine during the " run " of the 
pantomime at the Princess's Theatre. At Easter, 1853, at the 
same theatre, first performance of ' Marco Spada,' adapted from 
Scribe's libretto to Auber's opera of that name, she played the 
character Marchesa Maddalena, "her acting abounding in the spirit 
in which her fellow-actors were deficient" {Atheiicsicm, April 2, 
1853). In April 1854 she made her first appearance of any note 
in the character of Marguerite (' Faust and Marguerite ') at the 
Princess's Theatre. This so-called " magical drama " was a close 
adaptation of a French piece of the same name, written by M. 
Michel Carr^, and brought out at the Gymnase in August 1850. As 
a spectacle it was one of the most tasteful and elaborate ever seen on 
the boards of the Princess's Theatre. The Times (April 20, 1854), 
noticing Miss Leclercq's acting in the part, said: — ^^ Marguerite 
served to display to an extraordinary degree the talents of Miss 
Leclercq. Her appearance, both as the happy innocent girl and 
as the victim of remorse, was beautifully picturesque, and her 
pantomime, which was important throughout, was always graceful 
and expressive. The interior of the cathedral, in which she is 
disturbed by evil thoughts during her prayer, was exhibited by 
means of a transparency, and her wild gestures of despair as she 
knelt conspicuous among the rest of the congregation gave a strik- 
ing character to the whole tableau." 

In March 1855, first performance at the Princess's of 'The 
Muleteer of Toledo,' adapted from the French of M. Adam's opera 
of the same title, Miss Leclercq performed the part of Elvira, 
Queen of Murcia. The same year at the same theatre she 
played the part of Diana, first performance of Morton's drama, 
' Don't Judge by Appearances ' (founded on M. Dutertre's ' Ange 
et Ddmon') ; and the following year Beppo in Morton's play, 'A 
Prince for an Hour,' and the heroine in the same author's play,, 
' Our Wife ; or, the Rose of Amiens.' On July i, 1857, she played 
Ariel in a revival of ' The Tempest ' at the Princess's ; and 
June 12, 1858, Nerissa in a revival of 'The Merchant of Venice.' 
In June i860, during a temporary engagement of Mr. Phelps at the 
Princess's Theatre, Miss Leclercq played Mrs. Ford in a revival of 
' The Merry Wives of Windsor ' ; and subsequently (in the follow- 
ing year) Mrs. Page, in the same play. On Saturday, September 
28, 1861, first performance in England at the above-named theatre 
of Brougham's ' Playing with Fire,' she sustained the character of 
Mrs. Savage. Monday, February 10, 1862, at the same theatre, she 
played Rosalind in a revival of ' As You Like It,' as to which the 
Athenceum (Fe^jjiary 15, 1862) remarked :— "Miss Carlotta Leclercq 
is entirely out of place in Rosalind. She wants altogether the 
educational training which such an exquisite creation of poetic 
fancy requires and imphes ; nor is her personal appearance 
suitable to the part. She is too demonstrative, too heavy, too 
sensuous, where only the ideal, the fantastic, the spiritud should 


prevail." On Saturday, January 10, 1863, first performance of ' The 
Duke's Motto ' at the Lyceum Theatre, under the management of 
the late Charles Fechter, Miss Leclercq played the part of Zillah; 
and on Saturday, October 22, 1864, first performance at the same 
theatre of ' The King's Butterfly ' (Mr. Fechter in the leading rdle), 
she played Madame de Pompadour. December 22, 1865, produc- 
tion at the Lyceum Theatre of Palgrave Simpson's version of ' The 
Master of Ravenswood,' she personated the part of Lucy Ashton. 
Saturday, April 21, 1866, first appearance at the Lyceum Theatre 
of Mr. Fechter in the part of Hamlet, Miss Carlotta Leclercq per- 
formed Ophelia, and continued to play that character during the 
very successful run of the piece. Monday, September 16, 1867, 
she appeared at the same theatre as Pauline in ' The Lady of 
Lyons,' Mr. Fechter playing Claude Melnotte. On Mr. Fechter's 
removal to the Adelphi Theatre, and the production there (Satur- 
day, October 17, 1868) of a dramatic version of A. Dumas' novel 
' Monte Cristo ' (Mr. Fechter as Edmond Dantes), Miss Leclercq 
played the part of Mercedes. In March 1869, first performance at 
the same theatre of a play entitled ' Black and White,' by Messrs. 
Wilkie Collins and Charles Fechter, Miss Carlotta Leclercq sus- 
tained the part of Emily Milburn. During the subsequent seven 
years, Miss Leclercq acted principally in the United States in the 
various plays produced there by Mr. Fechter. She returned to 
England in 1877, and down to the date of her husband's death, in 
July 1879, acted with him at the principal theatres in the pro- 

LECLERCQ, ROSE, born in Liverpool ; fourth daughter of the 
late Charles Leclercq, and sister of Carlotta Leclercq. She made 
her first appearance of any note Saturday, September 28, 1861, at 
the Princess's Theatre, London, as Mrs. Waverly, first performance 
in England of 'Playing with File' (Brougham). On Monday, 
September 21, 1863, at Drury Lane, first performance of F. C. Bur- 
nand's play, ' The Deal Boatman,' she sustained the part of Mary 
Vance (Mr. Belmore as Jacob Vance). On Saturday, October 10, 
1863, on the occasion of the revival at Drury Lane, by Mr. S. Phelps, 
of ' Manfred ' (Byron), she played the part of The Phantom of 
Astarte. " One word uttered by Miss Rose Leclercq — ' Manfred ! ' 
was the great attraction of that play." {Athenaum, April i, 1871.) 
On Wednesday, August 12, 1868, she acted the heroine, first per- 
formance at Princess's Theatre of ' After Dark ' (Boucicault) ; and, 
in the following year, at the Adelphi, the heroine in the same 
author's 'Lost at Sea.' Monday, March 7, 1870, at the Princess's 
Theatre, first performance of Dion Boucicault's play, ' Paul Lafarge,' 
she sustained the character of the heroine. Saturday, November 26, 
1870, revival at the Princess's of 'The Pretty Girls of Stilberg' 
(Mr. Benjamin Webster in his original character of Napoleon), 
Miss Rose Leclercq played the part of Margot. The following 
year, at the same theatre, she appeared (February) as Margaret in 
a revival of ' King o' Scots ' ; (April) as Marguerite in a revival of 
the drama, ' Faust and Marguerite' ; (May) as Mrs. Stirling in a 


revival of ' The Clandestine Marriage ' ; and Tuesday, June 29, 1871, 
first performance, at the same theatre, of Falconer's drama, ' Eileen 
Pge; or. Dark's the Hour before Dawn,' she personated the 
heroine. Saturday, March 2, 1872, revival of ' Ruy Bias' at the 
Adelphi Theatre, London, with Mr. Fechter in the title rdle. 
Miss Rose Leclercq played the Queen j Saturday, September 28, 
1872, revival, at the Princess's Theatre, of ' Othello ' (Mr. Phelps 
as the Moor), she performed the part of Desdemona ; and, in a 
revival of ' The Merry Wives of Windsor,' at the same theatre, 
December 19, 1874, she played the part of Mrs. Ford. Saturday, 
September 4, 1875, ^^^t performance at Drury Lane of 'The 
Shaughraun' (Dion Boucicault), Miss Rose Leclercq personated 
the character of the heroine, Claire FfolUott. " There are at least 
two characters in this piece which alone would suffice to raise it far 
above the level of melodrama. The first of these is Conn the 
Shaughraun, and the other is the heroine, who is not less natural 
than Conn himself, though in a different way. Her Irish ready wit 
and sly sense of humour are by a happy exercise of ingenuity not 
only combined with qualities of a deeper and more earnest kind, 
but so interwoven with them that they both act and re-act upon 
each other. The peculiar position of this heroine — admirably per- 
formed by Miss Rose Leclercq — is that she is in love with a young 
gentleman who is not only of the hated Saxon race but a red-coat. 
What is more, he is actually the officer commanding the detachment 
who arrest her brother as an escaped rebel. The reluctance with 
which she perceives the good qualities of this hero and progress of 
her affection for him, and the hollowness of the coldness with which 
she receives the young officer's advances, are delightfully portrayed. 
There is a humorous playfulness even in her sternest moods, and 
a fertility of resource about her modes of baffling his attempts to 
look into her secret heart which, together with many other traits of 
character, are as subtle and refined as they are fresh and pleasing." 
{Daily News, September 6, 1875.) 

Since the year 1875 Miss Rose Leclercq has been mostly engaged 
travelling as " star " in the provinces ; appearing in such parts 
as Galatea (' Pygmalion and Galatea '), Hilda (' Broken Hearts '), 
comedies by Mr. W. S. Gilbert; and as Ruth in 'Ruth's Romance.' 
Probably, Miss Rose Leclercq's greatest dramatic triumph has been 
achieved in the character of Liz, 'That Lass o' Lowrie's,' in the 
drama of that title, a part which she has perfomied with much 
success both in London and the provinces. The Manchester 
Examiner noticed this performance as follows : — " Perhaps no 
other actress could be found on the EngUsh stage at the present 
time so well qualified in every way to assume the difficult part of 
the title rdle as Miss Rose Leclercq. Her commanding presence, 
her boldness in defying her father, and her courage in rescuing 
Fergus Derrick from the burning mine, stand out in bold relief 
against the pathos and tenderness displayed at several stages of 
the play, and notably in the second act, where her interview with 
Alice Barholm, the daughter of the mine-owner, is particularly 


LEE, JENNIE (Mrs. J. P. Burnett), daughter of Edwin 
George Lee, artist ; born in London. After her father's death she 
entered the dramatic profession, and first appeared on the stage at 
the Lyceum Tlieatre as " a page " in ' Chilperic' Subsequently, in 
1870, at the same theatre, under the Mansell's management, in 
' Le Petit Faust ' she played " the crossing-sweeper," and secured 
favourable notice for her skilful rendering of the part. Miss Lee 
was afterwards engaged by Mrs. Swanborough, of the Strand 
Theatre, for "leading burlesque," and appeared there in July 1870 
as Prince Ahmed in 'The Pilgrim of Love.' She remained at the 
Strand Theatre for two seasons. Subsequently she accepted an 
engagement from Mr. Sothern, and accompanied him to the United 
States, " opening " at Niblo's Theatre, New York, as Mary Meredith 
in ' Our American Cousin.' Miss J. Lee was "leading soubrette" 
at that theatre until it was destroyed by fire ; and then became a 
member of the company of the Union Square Theatre, in the same 
city, playing the same " line of business." She subsequently went 
to San Francisco, and appeared at the California Theatre, where 
Miss Lee remained for a period of two years. While at this theatre 
she appeared for the first time as Jo in the play of that title, a 
version of ' Bleak House,' adapted from Charles Dickens's novel by 
J. P. Burnett. Miss Lee's impersonation of the part was a remark- 
able success. In August 1875 she returned to England, and, in 
London, played at the Surrey Theatre for the Christmas season. 
Having leased the Globe Theatre for a time, on February 22, 1876, 
Miss Lee " opened " with Jo, playing the part with " a realism and 
a pathos difficult to surpass. A more striking revelation of talent 
has seldom been made. In get-up and in acting the character was 
thoroughly realized ; and the hoarse voice, the slouching, dejected 
gait, and the movement as of some hunted animal, were admirably 
exhibited" {Athenaum, February 26, 1876). Miss Lee has since 
acted the same character with unvarying success at all the principal 
theatres in the provinces. 

LEIGHTON, MARGARET, daughter of J. Davies, Esq., J.P. 
of Brecknockshire ; born in Brecon, South Wales. She made her 
first appearance on any stage at the Queen's Theatre, London, 
March 1874, in the character of Julia, in 'The Hunchback.' 
" Miss Leighton has an excellent voice and an expressive cast of 
countenance ; but what is of greater importance she possesses 
histrionic power of high order. Her performance was distinguished 
by tenderness, force, and passion, each point being made the very- 
most of, and securing hearty applause. Miss Leighton was called 
before the curtain at the conclusion of every act and loudly cheered." 
{Daily News, March 1874.) Subsequently at the same theatre 
she played various Shakespearian parts. In October 1874 she 
played Romeo at the Prince's Theatre, Manchester, in Mr. Calvert's 
revival of that play. She next appeared at the Queen's Theatre, 
London, under Mr. John Holhngshead's management, playing 
Evadne in 'The Bridal' (Beaumont and Fletcher), and the parts 
of Desdemona- ('Othello') and Portia ('Merchant of Venice'). 


Shortly afterwards, with her own company, Miss Leighton went 
on a tour in the provinces, appearing as Marie Stuart in the play 
called 'The Gascon.' She reappeared September 1876 at the 
Queen's Theatre, London, as Chorus in a grand revival there of 
Shakespeare's ' Henry V.' In a notice of this performance the 
Daily Telegraph (September 1876) said : — " Perhaps the most 
difficult task was that allotted to Miss Leighton, a young actress 
of decided and marked ability. To play Chorus in this play, and 
to speak a prologue to the enterprise, means to run the risk of 
ridicule and to break in more than once upon the patience of the 
audience. But Miss Leighton held her own bravely. She could 
not possibly have done so had she been less correct in her elocution 
or less earnest in her work. The use and meaning of a chorus 
can only be known to a limited number in a general assembly ; but 
Miss Leighton thoroughly succeeded in banishing laughter and- 
creating attention by the polish of her recitation and the round 
resonance of her voice." 

Miss Leighton played the part of Haska on the first performance 
of Mr. Spicer's play of that name at Drury Lane Theatre ; and, 
subsequently, the character of the Countess oj Derby in Mr. W. G. 
Wills's play ' England,' produced at Drury Lane, September 1877. 
The following season she sustained the part of Formosa in a re-, 
vival of Boucicault's drama of that name at the Adelphi Theatre,. 

LE THIERE, ROMA GUILLON, made her first appearance 
on the London stage at the New Royalty Theatre, 1865, in the 
character of Emilia (' Othello '). Subsequently she played in 
' Hunted Down ' at the St. James's {see Herbert, Louisa) ; 
' Life for Life ' at the Lyceum ; ' Ours ' (revival) at the Prince of 
Wales's Theatre ; the melodrama of ' Rob Roy,' in which she 
played Helen Macgregor, at Drury Lane Theatre ; and after ful- 
filling an engagement with Mrs. John Wood at the St. James's, 
on January 12, 1878, sustained the part of the Marquise de Rio 
Zares, first performance of ' Diplomacy ' at the Prince of Wales's 
Theatre. " Especial attention may be invited to the scene between 
mother and daughter in the first act, so exceDently sustained by 
Miss Le Thifere as the Marquise de Rio Zares, and Mrs. Kendal 
as Dora. We have here a picture of pure and tender affection 
approached in em earnest spirit and touched by both ladies with- 
graceful skill, a scene instinct with variety, charm, and truth. The 
dreary doubts of Dora as to the value of such a broken life as her's 
ai'e with intense expression softened by the abiding presence of her 
good old mother's love." {Daily Telegraph, February 8, 1878.) 
Miss Le Thifere has appeared in revivals of ' Caste ' at the same 
theatre. In July 1869 she produced at the Haymarket Theatre 
" a new and original comedy," written by her, entitled ' All for 
Money,' in which Miss Amy Sedgwick, Mr. Henry Irving, and 
Mrs. Stephens appeared. The piece was, however, a failure. 



* LITTON, MARIE, first obtained notice as an actress by her 
praiseworthy performance of the part of Effie Deans,\ in a re- 
vival of Boucicault's revised version of the play of 'The Trial of 
Effie Deans,' presented on the Princess's stage, March 23, 1868, 
under the title of ' Jeannie Deans.' It may be remarked that the 
first-mentioned drama was produced at the Theatre Royal, West' 
minster (Astley's Theatre), January 26, 1863, Mrs. Boucicault in 
the leading rdle. On the occasion of the opening of the Gaiety 
Theatre, Monday, December 21, 1868, Miss Litton appeared in 
the English version of MM. d'Ennery and Brevil's ' L'Escamoteur,' 
entitled ' On the Cards,' the late Mr. Alfred Wigan in the leading 
role; and at the same theatre in the following year (December 
1869) she appeared in 'Uncle Dick's DarHng' (H. J. Byron). 
Subsequently Miss Litton became connected with the Brighton 
Theatre for a period. January 25, 1871, she opened the Court 
Theatre under her management, and produced various plays, 
among which W. S. Gilbert's 'Randall's Thumb' (first performed on 
the opening night) ; the same author's ' The Happy Land,' ' Alone,' 
and ' Wedding March,' and Mr. Bronson Howard's ' Brighton' were 
conspicuous. In 1873 she was engaged for a time at the Hay- 
market Theatre, and appeared, Saturday, January 4 of that year, in 
Mr. Gilbert's play ' The Wicked World ' as Zayda. In 1875 shfe 
was acting at St. James's Theatre, and secured favourable notice 
for her performance in the comedy of ' Tom Cobb.' At the Prince 
of Wales's Theatre in 1877 she acted the character of Mrs. Mon- 
tressor in ' The Unequal Match.' In the autumn of 1878 Miss 
Litton undertook the management of the theatre attached to the 
Aquarium, Westminster, and appeared during the season in a series 
of performances of old comedy. This theatre was subsequently 
(1879), under the same management, opened under the designation 
of the Imperial Theatre, with an effective company of comedians. 
Among the revivals of old comedies by Miss Litton in 1878-9, 'The 
Liar ' and 'She Stoops to Conquer' claim notice. Her acting of 
the part oi Miss Hardcastle in the first-named play was especially 

■•LOSEBY, CONSTANCE, had earned some reputation as a 
public singer previous to her first appearance on the London 
stage, which took place at the opening of the Gaiety Theatre 
under Mr. Hollingshead's management, in December 1868, in Mr. 
Jonas's comic operetta ' The Two Harlequins.' Her ddbut was 
favourably noticed in the Daily News (December 23, 1868) as 
follows : — " Mr. Hollingshead's programme includes several first 
appearances, one of which at least is the occasion of introducing to 
the public a valuable acquisition to the stage. We allude to Miss 
Constance Loseby, a lady whose performances have hitherto, we 
believe, been confined to the music-halls. As an actress in 

t This performance is treated by the Era (March 29, 1868) as Miss 
Litton's first appearance on the stage. In a notice of her acting, published 
on that date, she is stated to be " not only a stranger to this theatre, but, 
as we are informed, entirely new to the stage." — Ed. 


operetta and burlesque Miss Loseby is fully equal to the per- 
formance of leading parts, while she possesses a mezzo-soprano 
voice of considerable power. This was manifested at once, in 
spite of her evident nervousness, by her pleasant rendering of the 
song ' When husbands run away.' " She remained at the Gaiety 
for six years (1868-74), playing leading rSles in various burlesques 
placed on its stage ; ' Thespis ; or, the Gods Grown Old ' (W. S. 
Gilbert), ' Aladdin the Second' (Hervd), 'Princess of Trebizonde' 
(Offenbach), ' Trombalcazar ' (rendered into Enghsh by C. H. 
Stephenson), &c., &c. Later, Miss Loseby became engaged at 
the Alhambra Theatre, where she has since successfully appeared 
in several versions of French comic operas. 

LYLE, ARTHUR, was born in London, and made his first 
appearance on the stage at Brighton in 1863 in one of the minor 
parts in ' Society.' Subsequently he performed for some years in 
the provinces with more than ordinary success, and made his 
dttut on the London stage at the Standard Theatre in June 1878 
in the part of Phil Lowrie in the drama of ' Liz ' (' That Lass o' 
Lowrie's '). 

LYONS, EDMUND D., born in Edinburgh, February 29, 
1851. He entered the dramatic profession in boyhood under the 
auspices of his father, the late Mr. E. D. Lyons, lessee of the 
Theatre Royal, Dundee, and of Mr. and Mrs. R. H. Wyndham, 
of the Theatre Royal, Edinburgh ; his first appearance in a part 
of any importance being at the Dundee Theatre in 1864. He 
was a member of the " stock " company of the Theatre Royal, 
Edinburgh, in 1870. In 1874 he travelled with J. L. Toole through 
the principal provincial towns as The Judge in ' Wig and Gown.' 
The same year he became a member of the company of the 
Alexandra Theatre, Liverpool, under Mr. Saker's management. 
On April 15, 1876, he sustained the part of Captain Manuel in 
Wilkie CoUins's ' Miss Gwilt,' on the occasion of the first pro- 
duction of that play at the Globe Theatre in London, and he 
was for a short period stage-manager at that theatre. At the 
Christmas season 1876 he produced the pantomime at the Theatre 
Royal, Bristol, under Mr. James Chute's management ; and after- 
wards joined the so-called ' Caste ' company for a short season 
during the summer months of 1877, playing in the provinces the 
following characters — Hon. Bruce Fanquehere, Prince Perovsky, 
and Beau Farintosh. On August 29, 1877, he joined the Lyceum 
company, under Mrs. Bateman's management, and sustained with 
excellent effect the character of Joseph Btischmann on the first 
production of Wilkie CoUins's drama of ' The Dead Secret,' sub- 
sequently appearing at the same theatre as Pierre Choppard 
(' Lyons Mail '), and (April 1878) as Marcel (' Louis XL'). 

LYONS, ROBERT CHARLES, born October 31, 1853 ; son 
of the late Mr. E. D. Lyons, of Edinburgh, sometime lessee and 
manager of the Theatre Royal, Dundee. He has been, more or 


less, connected with the dramatic profession from boyhood, and 
made his professional ddbut March 1869, at the Theatre Royal, 
Edinburgh, under the management of Mr. R. H. Wyndham. He 
played in the grand revival of ' Rob Roy ' at that theatre, August I, 
187 1 ("the Scott Centenary Celebration"). Subsequently Mr. 
Lyons accepted an engagement with Mr. J. L. Toole for a short 
tour in the provinces in May 1874 ; and afterwards returned to the 
Theatre Royal, Edinburgh, of the "stock" company of which he 
remained a member until the theatre was destroyed by fire, 
February 6, 1875. He opened in Liverpool at the Alexandra 
Theatre, under the management of Mr. Saker, March i, 1875, ^s 
Charles Courtly in ' London Assurance,' subsequently playing 
during this engagement such parts as Sir Thomas Clifford, Eugene 
de L'Orme, Jacques, Mercutio, &c. During his stay at Liverpool Mr. 
R. C. Lyons played a special engagement at the Rotunda Theatre in 
around of Scotch comedy. On the 9th December, 1875, he played 
Allan Armadale, in Wilkie CoUins's drama of ' Miss Gwilt,' first 
produced at the Alexandra Theatre, Liverpool, prior to its pro- 
duction in London. He made his first appearance on the London 
stage (in the same character) at the Globe Theatre, April 15, 1876^ 
under the management of Miss Ada Cavendish. He was engaged 
by Mrs. Bateman for Mr. H. Irving's provincial tour, September 14, 
1876 ; and subsequently joined the company of the Lyceum Theatre 
in London, and played in the two productions of the seasons 
immediately following, viz. Hastings ('Richard III.')j Monsieur 
Couriol (' Lyons Mail '). 


MACKINTOSH, WILLIAM.was born in Melbourne, Australia, 
July 23, 1855, and first appeared on the stage December 24, 1872, 
at the Theatre Royal, Elgin, in a subordinate part in a piece 
entitled ' Christmas Eve.' He entered upon his first important 
engagement with Mrs. John Wood at the Gaiety Theatre, Dublin, 
June 21, 1875, appearing as Crabtree (' School for Scandal '), Mark 
Meddle ('London Assurance'), &c. In 1876 he played various 
parts at the Gaiety Theatre, Glasgow, during the engagements of 
the late Mr. Charles Mathews, Mr. and Mrs. Kendal, &c. In the 
following year Mr. Mackintosh appeared at the Prince of Wales's 
Theatre, Liverpool, as Flop (' Bounce '), Jacques Strop (' Robert 
Macaire'), Peckover ('The Contested Election'), Whiskerandos 
('The Critic'), Touchstone ('As You Like It'), &c., and at other 
leading theatres in the provinces, for the most part in support of 
" star " actors. He made his ddbut on the London stage at the 
Royal Court Theatre, January 4, 1879, as Dr. Penguin in a revival 
of ' A Scrap of Paper,' his performance of the part being noticed 
in the following terms in the Athenceum (January 11, 1879): — 
"Of the new comers, one, Mr. Mackintosh, seems likely to be of 
high service to the company at the Court. The get-up of Mr. 
Mackintosh was admirable, a new and quite recognizable type of 
comic character being presented. In other respects the per- 
formance was excellent, though it was not free from exaggeration 
in the later scenes." At the same theatre (at a morning per- 
formance), Saturday, April ig, 1879, ^^ played the part of Sam 
Pitcher in ' The Queen's Shilling,' a new version, by G. W. Godfrey, 
of ' Le Fils de Famille.' 

MACKLIN, FRANCIS HENRY, was born in London 1848, 
and entered the dramatic profession under the pseudonym of 
" F. Manton " in 1873. He made his first appearance on the 
stage in June of that year, at the Queen's Theatre, Long Acre, 
under Miss Litton's management, as Melun in ' King John.' 
Afterwards he went on tour with a company of which the same 
lady was manager; and in September 1873 joined Mr. Chatterton's 
Drury Lane and Adelphi companies, playing at the former of these 
theatres in a revival of ' Antony and Cleopatra,' and at the latter 
in ' Green Bushes,' with Madame Celeste in the cast. At the 
Adelphi he played his first original part, Harry Valentine, in a 
play by Paul Meritt, entitled ' Rough and Ready.' Assuming his 
own name in 1874, Mr. Macklin played several provincial engage- 
ments, notably at the Prince's Theatre, Manchester, where, among 
other parts, he played Prince John in a revival of ' Henry the 
Fourth.' At the Queen's Theatre, in the same city, he played 
Romeo to the Juliet of Miss Ada Cavendish. Afterwards returning 
to London, in May 1875, at the Mirror Theatre, he played the 
original Latirence Lindon in ' The Detective,' a version of ' Le 
Parricide,' by Clement Scott. The acting of this character served 
to bring Mr. Macklin into notice, although the play itself was not 


a success. Subsequently he fulfilled various provincial engage- 
ments. In January 1876, at the Olympic Theatre in London, he 
performed the leading character of Tom Mayfield in J. Hatton's 
drama entitled ' Clytie ' ; and in the March following appeared at 
the Duke's Theatre in Mr. Craven's drama 'Too True.' Mr. 
Macklin has since undertaken engagements at the Op^ra Comique 
and St. James's Theatre, and at the Globe Theatre, where he 
appeared in ' Stolen Kisses,' and at various times has played such 
parts as Falkland (' The Rivals '), Young Marlow (' She Stoops 
to Conquer '), Captain Hawksley (' Still Waters Run Deep '), Mr. 
Chevenix ('Uncle Dick's Darling'), Charles Courtly ('London 
./Assurance '). In April and May 1878 he supported Miss Neilson 
during her engagement at the Haymarket, playing the following 
characters : Mercutio, Angela, and Modus. In September 1878 
Mr. Macklin accepted an engagement at the Olympic Theatre, 
where he played Chevalier de Vaudray in a revival of ' The Two 
Orphans.' At the same theatre during the same engagement he 
appeared as Joseph Goupille in a new and original comedy-drama 
by Mrs. Holford, entitled 'A Republican Marriage.' In 1879 he 
went on tour in the provinces in a company under the management 
of Miss Helen Barry. 

MACLEAN, JOHN, was born in London. He began his pro-, 
fessional career on the stage in 1859, at the Theatre Royal, 
Plymouth. Previous to this he had been engaged in giving 
dramatic readings in conjunction with Mr. T. J. Searle, one of 
the literary staff of the Weekly Dispatch. During the last 
provincial tour of Mr. and Mrs. Charles Kean, while they were 
performing at the Theatre Royal, Plymouth, Mr. Maclean under- 
took to play the King in ' Hamlet ' at very short notice, and was 
complimented on this occasion by Mr. Kean for the excellent 
manner in which he had rendered the character. Afterwards 
Mr. Maclean entered upon engagements at Jersey and Guernsey, 
and, later, at Birmingham. In 1861 he made his first appearance 
on the London stage at the Surrey Theatre ; and in 1862 was 
engaged by the management of the Olympic Theatre to play the 
part of Mr. Gibson in ' The Ticket-of-Leave Man.' Afterwards he 
became a. member of the company of the New Surrey Theatre, 
under Mr. Shepherd's management. Subsequently Mr. Maclean 
appeared at the Princess's Theatre in 'The Man o' Airlie.' In 
1868 he was enrolled a member of the company of the Gaiety 
Theatre, under Mr. John HoUingshead's management, and con- 
tinued to perform there in almost all the various plays produced 
under Mr. HoUingshead's supervision down to the year 1879 in- 

MAISEY, ELISE, commenced her professional career in 1875, 
vphen she created a favourable impression by her acting in various 
Hies in the legitimate drama at the Rotunda Theatre, Liverpool. 
During 1877-8 she was acting with success at Aberdeen and other 
northern towns, principally in Shakespearian characters, Juliet, 


Ophelia, Rosalind, &c. She made her dSbut on the London stage', 
at the Olympic Theatre, in July 1878, in the part of Euphrasie' 
Dupont in ' Vivianne ; or, the Romance of a French Marriage,' 
adapted, " by the author of ' The Member for Paris ' and Mr, 
George Canninge," from a story pubhshed in the ' Cornhill Magar 
zine ' entitled " Mdlle. Vivian." Subsequently, in the provinces, 
Miss Maisey played very effectively the part of Valentine in ' Proof; 
or, a Celebrated Case,' with a company organized under Mr. Wilson 
Barrett's direction. 

MARIUS, CLAUDE (a nom de thiAtrej CLAUDE Marius 
Duplany), born February 18, 1850, at Paris. He entered the 
dramatic profession in 1865 as an auxiliary at the Folies Dra- 
matiques, playing parts in most of the popular pieces presented 
there for a brief period. In 1869 he came to London, and appeared 
at the Lyceum Theatre in the characters of Landry in ' Chilperic,' 
and of Siebel in ' Little Faust.' M. Duplany joined the French 
Army during the Franco- Prussian war; but in 1872 returned to. 
London, and, at the Philharmonic Theatre, appeared as Charles 
Martel and Drogan in ' G^n^vifeve de Brabant.' Subsequently 
" M. Marius "joined the company of the Strand Theatre, where he 
has played and " created " many parts, among them the following : 
Viz. Major Roland de Roncevaux in ' Nemesis,' Rimbombo in ' Loo,' 
Baron Victor de Karadec in ' Family Ties,' Orloff in ' Dora and 
Diplunacy,' and Dubuisson in ' Our Club.' On Saturday, April 12, 
1879, first performance at the Strand of an English version of 
Offenbach's ' Madame Favart,' he sustained the r6le of M. Favart. 

MAkKBY, ROBERT BREMNER, youngest son of the late 
Rev. W. H. Markby, sometime Fellow of Corpus Christi College, 
and rector of Duxford St. Peter's, Cambridge, received his educa- 
tion at Marlborough College. He had acted on the provincial 
stage, at Glasgow, Dublin, Liverpool, &c., previous to his first 
appearance in London, which was made at the Court Theatre, 
Saturday, October 28, 1871, in the part of Denis Grant in W. S. 
Gilbert's comedy ' On Guard.' In the following year, in May, in a 
revival of ' Leah ' at the Lyceum Theatre, Miss Bateman in the 
title role, Mr. Markby acted the character of Father Hermann 
"with great vigour and dramatic force." At the same theatre, 
Saturday, September 28, 1872, first performance of 'Charles the 
First' (W. G. Wills), he sustained the part oi Ireton. In 1873, in 
the provinces and in London (at the Charing Cross Theatre), he 
acted the character of Rev. Julian Gray in Mr. Wilkie Collins's 
drama ' The New Magdalen,' Miss Ada Cavendish in the leading 
role. In this part Mr. Markby proved himself a careful and 
efficient actor, and secured well-merited praise. At the Prince of 
Wales's Theatre he has appeared in revivals of 'The School for 
Scandal' as Trip, and of ' Masks and Faces ' as Snarl, and at the 
St. James's Theatre as Dazzle in ' London Assurance ' and Lord 
Lovell in ' A New Way to Pay Old Debts.' 


MARRIOTT, ALICE (Mrs. R. Edgar), made her first appear- 
ance on the London stage at Drury Lane Theatre in December 
1 854 as Bianca in ' Fazio ' ; and in the following month, at the 
same theatre, sustained the title rdle in Boucicault's drama 
' Eugenie,' then performed for the first time. Miss Marriott re- 
■ mained a member of the company of Drury Lane Theatre for 
some seasons ; but in 1861 entered upon the management of the 
Standard Theatre for a brief period. Here, on Monday, May 27, 
1 86 1, she produced Westland Marston's play 'Anne Blake,' and 
performed the title rdle. In February 1862, at the Princess's 
Theatre, she undertook the part of The Angel of Midnight in 
Brougham's play of that title, adapted from the French of MM. 
Barri^re and Plouvier. In 1863 Mi;s Marriott entered upon the 
management of Sadler's Wells Theatre, and on Saturday, Sep- 
tember 5, " opened" with Lovell's play of ' Love's Sacrifice,' herself 
sustaining the part of Margaret. On Monday, November 9 of the 
same year, she produced, at the same theatre, a play in four acts, 
by Westland Marston, entitled ' Pure Gold,' in which she acted the 
•part oi Evelyn liochford. During 1863-4, at Sadler's Wells, Miss 
Marriott appeared in the following characters, viz. : November 20, 
Virginia, in the tragedy of 'Virginias'; January 23, 1864, the 
Duchess of Malfi, in Webster's tragedy of that name ; February 22, 
1864, the character of Hamlet, in Shakespeare's tragedy; Septem- 
ber 17, 1864, the Countess, in Sheridan Knowles's play of 'Love ;' 
and later. Lady Macbeth and Juliet, " showing the versatility of her 
talent by sustaining both with such points of discrimination as prove 
a remarkable power of artistic adaptation. . . . The extent of her 
range is a qualification which peculiarly fits her for the manage- 
ment of a theatre in which she must herself play the leading 
Shakespearian characters." {Athenceum, October I, 1864.) Miss 
Marriott retained the management of Sadler's Wells Theatre for a 
period of six years. She has appeared with success in the United 
States in leading roles in the legitimate drama, and is now (1879) 
travelling in the provinces with a company known as " Miss 
Marriott's Dramatic Company." 

MARSH, HENRY. See Marston, Henry. 

MARSHALL, FREDERICK, born in Glasgow, November 5, 
1848; he was educated to the stage from childhood, appearing as 
one of " The Marshall Family " in various dramatic pieces written 
by his father, C. F. Marshall. His first engagement as a member 
of the dramatic profession proper was at the New Theatre Royal, 
Bristol. In Easter, 1870, at the Theatre Royal, Bradford, he played 
the character ol Quilp, in a version of ' The Old Curiosity Shop,' 
written by C. Rice. This performance was so far a success that it 
had a long run on tour in the provinces. Subsequently Mr. Marshall 
became a memberof thecompanyof the New Theatre Royal, Notting- 
ham ; and, later on, of the Prince of Wales's, Liverpool. At this 
theatre he played several important parts in "revivals," notably Biles 
(' Miriam's Crime '), Peter Probity ('The Chimney Corner'), Daniel 



White ('Milky White'), Sampson Burr (' Porter's Knot'). March 29, 

1875, Mr. Marshall opened at the Philharmonic Theatre, London, 
in a burlesque entitled ' The Talisman ' ; and also again enacted 
the part oi Peter Probity, in which he was very successful. March 6, 

1876, he was engaged by Mr. W. S. Gilbert to play the character of 
Mousta in ' Broken Hearts,' for a lengthened tour through England- 
and Scotland. " The best piece of acting in the performance is un- 
doubtedly that of Mr. F. Marshall as Mousta, the dwarf. Highly 
.effective, in a quiet, subdued style, was the expression of feeling in 
the passages where the deformed creature pleads for the love of the 
queenly Hilda, and still finer the rendering of utter prostration, 
physical and mental, as he sinks under her reproaches." [Scots- 
7nan, July 11, 1876.) In September 1876 Mr. Marshall joined Mr. 
Duck's so-called ' Our Boys ' company of comedians, playing the 
parts of Perkyn Middlewick (' Our Boys ') and Percy Pendragon 
(' Married in Haste") with much success. In June 1877 he was 
engaged as a member of Miss Lydia Thompson's travelling com- 
pany, and visited the United States, performing at New York, 
Boston, Philadelphia, Baltimore, &c. Returning to England 
December 1877, he afterwards fulfilled a two months' engage- 
ment Qune-July 1878) at the Vaudeville Theatre, London, appear- 
ing as Perkyn Middlewick. In April 1879 he sailed for a tour in 

MARSTON, HENRY (a nom de thi&tre; Henry Marsh), born 
at Highworth, March 1804 ; son of Dr. Marsh, a well-known Wilt- 
shire physician. He was educated at Winchester School, and in 
early life studied law in the chambers of Messrs. Jay and Thomson, 
of Gray's Inn. Mr. Marston made his first appearance on the stage 
at Salisbury, in November 1824, as Florian, in a play entitled ' The 
Foundhng of the Forest.' For several successive years he played 
with all the histrionic celebrities of the time, JVIiss Foote, Miss 
Smithson, Madame Vestris, Mrs. Glover, the elder Kean, Charles 
Kemble, Macready, Charles Kean, Dowton, Liston, and John 
Reeve (see Creswick), making, in London, eventually a very 
successful appearance at Drury Lane, October 31, 1839, as Benedick, 
in the comedy of ' Much Ado About Nothing.' * The more pro- 
minent part of Mr. Marston's professional career belongs to the 
period of the late Mr. Samuel Phelps's management of Sadler's 
Wells Theatre. Of that excellent actor's company Mr. Marston 
was a conspicuous and popular member, taking a leading part in 
nearly all the Shakespearian revivals for which (1844-59) the Uttle 
theatre at Islington became famous. It would be impossible to 
select for special mention any one role in the legitimate drama in 
the presentation of which Mr. Marston excelled over and above 
another. For fifty-five years he devoted his energies almost solely 
to the interpretation of that drama (indeed, he might justly be con- 
sidered the last of the Kemble school), and, during that time, he 
appeared in more plays of Shakespeare than has fallen to the lot of 

• For these particulars I am indebted to the Era, April 1879.— Ed. 

MAiiUKY, ROSE. 259 

any principal living tragedian. Of plays, nowadays not so well 
known to playgoers as when Mr. Phelps " redeemed Sadler's Wells 
from clowns and waterworks, and made it a not unworthy shrine 
of Shakespeare," * in which Mr. Marston played a part, ' Timon of 
Athens,' ' Pericles, Prince of Tyre,' ' The Comedy of Errors,' ' The 
Taming of the Shrew,' and Beaumont and Fletcher's ' A King and 
No King,' are entitled to particular notice. When Mr. Phelps pro- 
duced the first-named play it had been acted but few times since 
the days of Shakespeare, and in the revival Mr. Marston acted 
Apemantus, and by his conception of the character " helped much 
to secure a right understanding of the entire play " {Journal of a 
London Playgoer, Prof. H. Morley, p. 155). In 'A King and No 
King,' which attracted the best judges of the drama to Islington, 
Mr. Marston appeared as Tigranes. The writer just quoted makes 
mention of the excellent acting of Mr. Marston in Bickerstaff's 
'Hypocrite,' at the same theatre, in October 1858, and of his 
judicious rendering of the part of Manly in ' The Provoked Hus- 
band,' in the same year.f He also acted in Shakespearian drama 
at Drury Lane and Covent Garden, and other theatres in London 
and the provinces, with success. On Thursday, May 29, 1879, 
a special performance of ' Much Ado About Nothing ' was given 
at the Lyceum Theatre for the benefit of Mr. Marston. It is 
gratifying to record that many of the best known actors and 
actresses of the English stage lent their services on this occasion, 
contributing greatly to its success, and aiding in no small degree, 
by the pecuniary results of their kindly co-operation, to make 
smoother the passage of Mr. Marston's declining years, unfortu- 
nately somewhat roughly assailed by ill-health. 


* MASSEY, ROSE, began her professional career at the Hay- 
market Theatre, July I, 1867, as Mary Meredith in ' Our American 
Cousin,' but attracted little notice as an actress until her appear- 
ance in the pantomime of 'Blue Beard 'in 1871 at Covent Garden 
Theatre, under the management of the late Mr. Augustus Harris, 
when she played Fatima. Later she appeared as leading lady at 
the Globe Theatre with the late H. J. Montague, and afterwards 

*' Speech of Mr. W. F. Fox, M.P., at the farewell banquet to Mr. 
Macready, March 1851. 

t A correspondent of the Z);?//)/ iVra/j, writing under date April 16, 1879, 
bears the following testimony to the dramatic ability of Mr. Marston : — 
"As well as myself, there are, I believe, very many remaining who were 
habitual frequenters of the performances at Sadler's Wells during the 
memorable campaign there of Mr. Phelps, and who ever recur to them 
with a living and grateful memory. ... I know it to have been the 
opinion of the majority (and including the more intelligent and cultured) 
of the old Wells frequenters, that they were indebted to Mr. Marston's 
acting, next to that of his chief and manager's, for the excellence of the 
performances there as a whole, and which, moving and delighting at the 
time, abide fixed and fresh in the memory." 

S 2 


went to America, where she fulfilled several engagements. She has 
appeared at all the principal London theatres. 

MATHEWS, MRS. CHARLES (formerly Mrs. Davenport), 
relict of the late Charles Mathews, the younger, was an actress of 
some note on the American stage previous to her second marriage. 
She made her first appearance on the London stage Monday, 
October ii. 1858, at the Haymarket Theatre, as Lady Gay Spanker 
in ' London Assurance,' Mr. Charles Mathews playing Dazzle, his 
original part. Subsequently, at the same theatre, Mrs. Mathews 
played in various pieces : — Nannette Didier, in a play adapted by 
her husband from a com^die- vaudeville of MM. Bayard and 
Dumanoir, ' La Vicomtesse Lolotte,' entitled ' The Milliner to the 
King'; and afterwards in ' Nothing to Wear,' from the French ' En 
Manches da Chemise.' In March 1859 she played (with Mr. 
Charles Mathews), at the Haymarket, Mrs. Featherby in Stirling 
Coyne's ' Everybody's Friend.' She was the original Mrs. Honeybun 
of Tom Taylor's ' The Contested Election,' first performed at the 
same theatre June 29, 1859. September of the same year she 
played at the Haymarket Theatre Sophia in ' The Road to Ruin,' 
her husband as Goldfinch ; and Phcebe in ' Paul Pry,' Mr. Mathews 
in the title role. Thursday, February 23, i860, first performance 
of Mr. Tom Taylor's comedy ' The Overland Route,' she sustained 
the character of Mrs. Sebright, Mr. Charles Mathews playing Tom 
Dexter. During 1861 Mrs. Mathews continued to play at the 
Haymarket Theatre ; and in 1862 for a short season appeared with 
her husband at the Bijou Theatre then adjoining Her Majesty's 
Theatre. In 1864 she played at the St. James's Theatre in a bur- 
lesque by Burnand entitled ' Faust and Marguerite,' appearing in 
the latter character. Mrs. Charles Mathews has rarely appeared 
on the stage since the above date, and finally retired from it some 
years ago. 

MEAD, T., born in Cambridge, August 22, 1819, and entered 
the dramatic profession in 1 841 at the Devonport Theatre, under 
the management of Mr. James Dawson, making his first appear- 
ance as Orozembo in ' Pizarro.' Having met with success, he was 
subsequently engaged by Mr. Roxby, of the Sunderland circuit, in 
whose company he travelled the provinces for some time, playing 
any line of business that offered. He made his first appearance on 
the London stage November 8, 1848, at the Victoria Theatre, in 
the character of Sir Giles Oven-each. Afterwards (shortly before 
Easter, 1849), being engaged by Mr. Shepherd, of the Surrey 
Theatre, he appeared there during that year as Othello, Colonna 
(' Evadne'), &c., and as Almagro, in Sheridan Knowles's ' Rose of 
Arragon,' being noticed in the Athencpum (September 22, 1849) as 
"an energetic performer of considerable promise." Mr. Mead 
remained at the Surrey Theatre from 1849 to 1852, and became 
a great favourite with its habitu(fs. He was shortly afterwards 
engaged at Drury Lane Theatre, under E. T. Smith's management, 
and played there, among other parts, Hamlet, lago, Macduff, 


Claude Melnotte, Duke Aranza, Wellborn, and Chateau Renaud. 
Mr. Mead was a member of the company of the St. James's 
Theatre (for "leading business and stage-management") under 
Mrs. Seymour. In 1858 he was enrolled as leading actor at the 
New Grecian Theatre. In subsequent years he fulfilled engage- 
ments at Sadler's Wells, playing the leading parts with Miss 
Marriott. At the Princess's Theatre he was the " original " /faaf 
Levy in ' Never Too Late to Mend,' and Crawly in 'The Streets 
of London.' Afterwards Mr. Mead became lessee and manager 
of the Elephant and Castle Theatre for a short period. At the 
Queen's Theatre he played the leading part in the first performance 
of Charles Reade's drama ' Rachel the Reaper.' He was engaged 
at the Lyceum Theatre, under Mrs. Bateman's management, to 
perform in the Shakespearian revivals and other plays produced 
under the supervision of Mr. Irving. He is still (June 1879) per- 
forming there, having appeared during his engagement in the 
following parts, viz. The Ghost (' Hamlet '), \st Witch (' Macbeth '), 
Brabantio ('Othello'), Lord Howard ('Queen Mary'), 1st Mur- 
derer (' Richard III.'), &c., &c. Mr. Mead is the author of a play 
produced at the Haymarket, July 8, 1867, under the title of 'The 
Coquette,' in which Miss Amy Sedgwick played the leading part. 

MELLON, MRS. ALFRED («/«WoOLGAR, Sara H J.), was borrl 
in 1824, and made her professional d^but in London in September 
1 843, at the old Adelphi Theatre, in a duologue entitled ' Antony 
and Cleopatra.' At the beginning of her career Miss Woolgar's 
versatile talents were generally employed in burlesque, in which 
she attained great repute. Her name will, however, be more 
generally and favourably known in connection with the series of 
domestic dramas for which the old Adelphi, under Mr. Benjamin 
Webster's management, and during Madame Celeste's popularity, 
became famous. Among the more important of those in which 
Miss Woolgar played on the occasion of their first performance 
may be noted the following: — 'The Flowers of the Forest' 
{Lemuel), 'The Marble Heart' {Marie), 'The Willow Copse' 
{Meg), 'The Dead Heart' {Catherine Duval), &c. Besides the 
foregoing plays in which Miss Woolgar's acting invariably com- 
manded praise, the following characters and pieces in which she 
has also appeared on the London stage are entitled to mention, 
riz. on April 9, 1853, at the Adelphi Theatre, the Widow Somerton, 
in a farce of more than ordinary merit, by Mr. M. Morton, entitled 
^ A Desperate Game' ; on Wednesday, July 20 of the same year, 
the leading role in Mark Lemon's burlesque of 'Sardanapalus'; 
on Monday, March 30, 1854, Anne Musgrave, first performance of 
Messrs. Tom Taylor and Charles Reade's drama, 'Two Loves 
and a Life,' " a drama built on an interesting story, with many and 
various incidents, and with important personages enough to employ 
a large number of good actors. In addition to this qualification, 
which it has in common with many other effective Adelphi pieces, 
it has the strange peculiarity that it is not taken from the French, 
but is really spun in the first instance from the brains of Mr. Tom 


Taylor and Mr. Charles Reade. It is in four acts. .... The 
assemblage of more incidents than are altogether consistent with 
the laws of probability, and the nature of the situations them- 
selves, stamp this work with the character of melodrama.. But 
it rises above the ordinary level of that class of entertainment 
by the carefulness and good taste displayed in the writing. The 
contrast between the two females, one of more feminine, the 
other of sterner stuff, is well conceived, as a new element of 
melodramatic action, while it seems to draw out most advanta- 
geously the opposite peculiarities of Miss Woolgar and Madame 
Celeste." {Times, March 21, 1854.) At Easter, 1854, at the 
Adelphi Theatre, she played Lord Bateman in Brough's ' Overland 
Journey to Constantinople,' &c. " The most marked performance 
in the piece is that of Miss Woolgar as the famous Lord Bateman; 
particularly in the second part of the drama, where, after an 
absence from his Sophia for ' seven long years and fourteen days,' 
his mind reverts to its first love while on the point of contracting 
a marriage with a new bride, and manifests a state of abstraction 
and uneasiness peculiarly dramatic. Mr. Brough's burlesques often 
become serious verities, and for a while sink the fun and bustle 
in real pathos, with which what is called humour, as distinct from 
wit, readily coalesces. The scene to which we allude is an instance 
in point, and was acted by Miss Woolgar with truth and effect. 
Such painting is like Nature's own, and we were struck with it in 
the situation we have described as something worthy of being in- 
cluded with efforts of Art." [AthencEum, April 22, 1854.) 

In the same year, on Monday, December 11, she played the part 
of Marie Blanche in ' Pierre, the Foundling,' at the Adelphi. 
Monday, September 15, 1856, the opening night of the Lyceum 
Theatre, under Mr. Charles Dillon's management. Miss Woolgar 
played Florizel in a burlesque by William Brough, entitled 
' Perdita ; or, the Royal Milkmaid.' The same year, Tuesday, 
October i5, first performance at the Lyceum of 'The Three Mus- 
keteers,' she sustained the part of Constance ; and on Saturday, 
December 6, Eugenie (of Beaumanoir), first performance of Ed. 
Falconer's drama 'The Cagot; or. Heart for Heart.' In March 
1857, at the same theatre, she appeared as Ophelia; Mr. Charles 
Dillon performing the part of Hamlet. " Miss Woolgar's Ophelia 
was one of the finest performances of the character we have ever 
seen. It was full of genius, and the pathos of the mad scene was 
irresistible." {Daily News, March 21, 1857.) 

On Wednesday, January 20, 1858, at the same theatre, first 
performance of a play of Leigh Hunt's, entitled 'Love's Amaze- 
ments,' she played the part of the Countess de Montelais; and in 
the same year (September) succeeded Mrs. Charles Young as Miss 
Vavasour in Falconer's play ' Extremes ; or, Men of the Day.' 
The following year she returned to the Adelphi Theatre, and in 
January appeared there as Dorine in ' Tartuffe.' The following 
month, in a "revival" of 'Masks and Faces,' she played the 
character of Peg Woffington, noticed in the Athenceum (Feb- 
ruary 19, 1859) as follows: "The performance of Peg Woffington 


for the first time by Miss Woolgar is an event. It was in all 
respects admirable and thoroughly original. The capricious im- 
pulse and natural good-heartedness of the actress, by the manners 
of the time placed in a false position, oppressed with a sense of 
degradation, but upheld by a consciousness of superior talent, were 
distinctly exhibited, not only in the general bearing of the assump- 
tion but in the most minute, details. Nothing could be more life- 
like than the play of light and shadow introduced, and their skilful 
distribution in the picture. Miss Woolgar has achieved by the 
performance a triumph, not only with the public but in the estima- 
tion of fastidious censors." During the same year, at the Adelphi, 
she played the following characters, viz. Don CUophas Zambullo, 
in the burlesque of ' Asmodeus ' ; Sir Rowland Macassar, in a 
burlesque ' The Babes in the Wood ' ; and Catherine Dtival 
(November), first performance of Mr. Watts Phillips's drama ' The 
Dead Heart.' 

On Monday, September 10, i860, first performance at the 
Adelphi of ' The Colleen Bawn ' (Mr. and Mrs. Boucicault in the 
principal parts), Miss Woolgar sustained the character of Anne 
Chute. Monday, April 14, 1862, first performance of Boucicault's 
dramatized version of ' The Cricket on the Hearth,' entitled ' Dot,' 
she played the part of Tilly Slowboy. " For downright grotesque 
yet still natural fun. Miss Woolgar's Tilly Slowboy could not be 
surpassed. The drollery of Tilly''s position is greatly heightened by 
the perverse pleasure which the now reckless Ned Plummer takes 
in frightening her out of her wits — an exhibition of comic terror is 
constantly taking place in the background." {Times, April 16, 1862.) 
On Monday, August 8, 1864, in a new farce of some interest, by 
T. J. Williams, entitled ' My Wife's Maid,' Miss Woolgar played 
the leading character, Barbara Perkins. In July 1865, still at the 
Adelphi, first performance of Mr. Walter Gordon's play ' Through 
Fire and Water,' she performed the part of Honnor Bright. 
Saturday, May 5, 1866, first performance at the same theatre of 
Mr. Benjamin Webster junior's version of Victorien Sardou's ' La 
Familie Benoiton,' entitled ' The Fast Family,' Miss Woolgar sus- 
tained the part of Clotilde. " Miss Woolgar (Mrs. Alfred Mellon) 
managed the scene admirably, and to her vigorous perform- 
ance throughout of this part of Clotilde, which is an exceed- 
ingly arduous one, the success of the drame should in fairness be 
attributed." (Athenceum, May 12, 1866.) 

In the following year, Thursday, December 26, first performance 
at the Adelphi of ' No Thoroughfare ' (Messrs. Charles Dickens 
and Wilkie Collins), Mr. Charles Fechter in the leading role, Miss 
Woolgar played Sally Goldstraw . From 1867 to 1875 she acted 
at various theatres in several revivals of plays of more or less 
interest. In March 1875, first performance at the Adelphi of a 
dramatic version of ' Nicholas Nickleby,' from the pen of the late 
Mr. Andrew Halliday, she undertook the part of Mrs. Squeers. 
The same year, in October, reappearance of Mr. Joseph Jefferson 
at the Princess's Theatre as Rip Van Winkle, she played 
Gretchenj and in 1877, at the same theatre, she performed her 


original character in ' Lost in London,' produced at the Adelphi 
Theatre in 1867. On Wednesday, May 15, 1878, a performance 
was given at Drury Lane Theatre in aid of a testimonial benefit 
to Mrs. Alfred Mellon (Miss Woolgar), in which the principal 
members of the dramatic profession took part. The result was 
in every sense most gratifying, and bore ample testimony to her 
personal worth and considerable merits as an actress. She has 
recently (June 1879) been acting nightly at her old theatre, the 
Adelphi, as Mrs. Candour, in a revival of ' The School for 

Miss Woolgar married the late Alfred Mellon, a gentleman well 
known in the musical world, and a composer of considerable 
ability, who inaugurated the series of Promenade Concerts now 
annually given at the Royal Italian Opera, Covent Garden. 

MERVIN, FREDERICK, is the son of a gentleman fanner in 
Leicestershire. He made his first apf>earance in London at the 
St. James's Theatre as Oscar in the comedy of ' War,' by Robert- 
son. Afterwards at the Royalty, under Miss Kate Santley's manage- 
ment, Mr. Marvin appeared as Anibal in ' La Marjolaine.' He 
was engaged for a season at the Alhambra Theatre. When ' Les 
Cloches de Corneville,' in August 1878, was transferred from the 
Folly Theatre to the Globe, Mr. Mervin performed the character 
of the Marquis for a considerable time. In May 1879 he super- 
seded Mr. Walter Fisher as Hector ia 'Madame Favart' at the 
Strand Theatre, and was himself superseded by Mr. H. Bracy 
about the end of the London season. In September 1879 he was 
at Edinburgh, performing in the same opera the character of 
Charles Favart. 

* MEYRICK, ELLEN, is a nieceand pupil of Mr. John Billington. 
She first appeared in London at the Adelphi Theatre, January 31, 
1874, as Alice May in ' Rough and Ready.' She has performed in 
the provinces, and generally in company with Mr. and Mrs. Billing- 
ton. She took the part of Miss Neville in ' She Stoops to Conquer ' 
at the Aquarium (now Imperial) Theatre, February 15, 1879, and 
during the extended run of the piece. She played Georgiana Vesey 
in ' Money ' on the occasion of Mr. E. L. Blanchard's benefit at 
the Haymarket in 1879, with a very strong cast ; and appeared as 
Dorinda in ' The Beaux' Stratagem,' September 22, 1879, at the 
Imperial Theatre, at the reopening under Miss Litton's manage- 

MOODIE, LOUISE M. R., had appeared on the continental 
stage previous to her d^it in England, which took place Saturday, 
February 26, 1870, at the Royal Alfred Theatre, London, in the 
part of Camille, in an English version of a drama of the same 
name by Alexandre Dumas, jun. During the same year she 
became a member of Sir Charles Young's comedy company, play- 
ing, 1870, in the provinces and in London (at the Charing Cross 
Theatre) the leadmg role, Beatrice, in ' Shadows ' (Sir C. Young), 


and, 1871, Marchesa de Torriano in ' Charms,' from the pen of the 
same 'author. In the first-named character Miss Louise Moodie 
achieved considerable distinction, and, so to speak, at once earned 
a reputation for herself on the English stage. It may be remarked 
that she had undergone no special course of training when she 
adopted the stage as a profession and first appeared in public as 
an actress. In October 1871 she joined the company of Sadler's 
Wells Theatre, under Mr. F. Helton's management, appearing 
there as Mdlle. Marco ('The Marble Heart'), and Lucrezia 
Borgia in a drama of the same title by Mr. F. Belton. At the 
Alexandra Theatre, Liverpool, Monday, December 4, 187 1, she 
sustained the part of Esmeralda in Andrew Halliday's drama 
' Notre Dame.' Severe illness having necessitated Miss Louise 
Moodie's retirement from the stage for a lengthened period, she 
did not again act in England until June 1873, when she accepted 
an engagement in the late Mr. Alfred Young's travelling company. 
During a tour which followed Miss Louise Moodie played Miss 
Chester in the drama of that name by Florence Marryat and Sir 
Charles Young; Mrs. Oakley (' The Jealous Wife ') ; Lady Aiidley 
(' Lady Audley's Secret '), &c. She reappeared on the London 
stage at the Court Theatre under Miss Litton's management, 
Saturday, February 14, 1874, in " a romantic play " entitled ' The 
White Pilgrim ' (Merivale) as Thordisa. This play was unsuc- 
cessful on the stage ; but the Times, in its review of its first repre- 
sentation, remarked that it was " of no uncommon merit, and was 
possessed of much of the character of antique tragedy." In the 
same year Miss Moodie joined the late Mdlle. Beatrice's comedy- 
company, and personated the character of Berthe de Savigny, first 
performance of the English version of M. Octave Feuillet's ' Le 
Sphinx ' (' The Sphinx ; ' Campbell Clarke), at the Theatre Royal, 
Edinburgh, August 12, 1874. This piece was subsequently pro- 
duced at the Theatre Royal, Haymarket, Miss Moodie sustaining 
her original character. " The palm falls to the share of Miss 
Louise Moodie, who has a strong character to represent, and 
succeeds in rendering it forcible by concealing the art which 
strengthens the illustration of nature. Every phase of the part 
is artistically represented, and the fine scene in the last act, wheri 
'Berthe threatens to expose Blanche's infamy, is played with re- 
markable power. . . . Miss Moodie deserves the highest praise 
for her performance, which we have no hesitation in saying is one 
of the most forcible the stage has witnessed for a long time past." 
{Standard, August 24, 1874.) She was specially engaged to per- 
form the part of Aika in the " spectacular romance " ' The Black 
Crook,' produced at the Amphitheatre, Liverpool, in May 1875. 
The same year, in October, she appeared in the characters of 
Ijidy Macbeth, Ophelia, and Portia, at the Gaiety Theatre, 
Glasgow. In 1876 Miss Louise Moodie became connected with 
the Chippendale Comedy Company, and in the provinces acted 
such parts as Lady Teazle, Lydia Languish, Miss Hardcastle, &c. 
Among other characters played by her in the same and following 
years (1876-8) may be mentioned C lytic, in the drama of that 


name by J. Hatton ; Lady Isabel and Madame Vine (' East 
Lynne ') ; Helen Rolleston (' The Scuttled Ship ' ; Charles Reade) ; 
Queen Katherine (' Henry VIII.'); Lady Marsden (' All for Her ") ; 
the Countess Danischeff {' The Danischeffs '). In April 1878, first 
performance at the Adelphi Theatre of ' Proof,' a version by Mr. 
Burnand of MM. D'Ennery and Cormon's ' Une Cause Cdfebre,' 
Miss Moodie personated Madeleine, and subsequently, in addition, 
Adrienne Lorance, acting the dual parts with singular care and 
effectiveness. On Monday, December 2, 1878, first performance at 
the T. R. Haymarket of ' The Crisis ' (J. Albery), founded on ' Les 
Fourchambault ' of M. Augier, she sustained the part of Mrs. 
Goring. In discussing the merits of this performance the Daily 
Telegraph (December 4, 1878) said: — "It will be a pleasure to 
describe, in some detail, the finished art of Miss Louise Moodie, 
who emphatically secured the success of the evening by one of 
those performances so seldom found on the English stage, but 
when met with so warmly welcomed. A scene so subtle and sym- 
pathetic as this must be mastered by art or it becomes ridiculous 
or commonplace. Suddenly there came out an actress — Miss 
Louise Moodie — an actress comparatively unknown, save to those 
who minutely study art, to hold an audience in breathless admira- 
tion and sympathy. Unannounced and unexpected, Miss Moodie 
stood forward to convince the sceptical as to the value of finish, 
refinement, and grace in high-comedy acting. It was not the 
words only that Mrs. Goring spoke which convinced the listener— 7 
it was the pathos of resignation which she displayed. On that 
weary face were scored the lines of many sorrows. The tired eye 
contained what Mr. Swinburne has nobly called ' the fire of many 
tears ' ; the voice was musical with forgotten memories. The 
action of the hand, the anxiety of the look, the intonation of the 
voice, were all in harmony, and the audience seemed hushed to 
pity as they heard the record of so sad a life. With great grasp 
and honesty of purpose did Mr. Kelly answer to the call required 
of him in such a scene. He was as deeply earnest as was Miss 
Moodie pathetically resigned. He was the type of action; she was 
the embodiment of regret. The scene from first to last, in short, 
rivalled the success of the similar situation at the Fran9ais, and 
moved the house to an emotion that can only be accomplished- 
by the most finished art. No one can sit through the scenes in 
which old Mrs. Goring and her son are engaged without being 
profoundly touched, not by the expression of a careless sentiment, 
but by the firm, artistic embodiment of a palpable truth. Every 
word uttered is human, and goes home to the heart, and a far 
inferior play could be endured for the sake of acting so pathetic, 
so tender, and so true. Whenever Mrs. Goring is on the stage, 
with her silvered hair and her martyrdom of suppressed sorrow, 
the audience is moved. The scenes in which Miss Louise Moodie 
and Mr. Charles Kelly were concerned conspicuously raised the 
interest of the comedy, and will certainly give it an impetus in 
public estimation." 


MORGAN, WILFORD, occupied the post of second tenor at 
the Italian Opera, Covent Garden, during the last years of the late 
Mr. Gye's administration. Mr. Morgan is an educated musician 
and well-trained tenor. According to the Athenceum (September 
13, 1879), "He is well versed both in the sacred and secular schools 
of composition ; and his setting of Bunyan's ' Pilgrim's Progress ' 
for solos, chorus, and orchestra, his ballads, &c., have attracted 
attention in the provinces, if not, as their merits entitled them to 
do, in the metropolis. For a short period he acted as double for 
Mr. Sims Reeves at the Alexandra Palace and other places, for he 
is master of the repertoire of our great English tenor. Mr. Wil- 
ford Morgan obtained a fair chance at last when he was secured 
for the Imperial Theatre (Aquarium) for the tenor part in ' H.M.S. 
Pinafore,' in which he enjoyed great success. His powers were 
still better displayed at the Globe Theatre, where, on Saturday, 
September 6, 1879, he appeared at a short notice in ' Les Cloches 
de Corneville ' as the Marquis.^'' 

MUNROE, KATE, was born in New York, U.S.A., and entered 
the dramatic profession in 1870. On October 25 of that year, at 
Milan, she sang the role of Norina in Donizetti's opera of ' Don 
Pasquale.' She studied for the operatic stage with some of the 
best masters in Milan and Naples, and played and sang in Italian 
opera for three years in various ItaUan cities. Miss Munroe was 
engaged for six months at the Thd&tre des Italiens in Paris, and 
came to London in 1874, making her first appearance in London 
24th September of the same year at the Gaiety Theatre in opera 
bouffe. She has played in French opera at the Philharmonic 
Theatre, Islington, and was engaged for two years and a half at 
the Alhambra Theatre, sustaining various principal parts, and 
subsequently at the Folly Theatre, London. Since her dttut in 
London Miss Munroe has occupied a prominent position in that 
limited circle of English artistes competent to sing in the more 
attractive works of the modern French composers. In the autumn 
of 1878 she went to Paris, where during an engagement of seven 
months she played with success two different rdles in French, in 
the ' Deux Nababs ' at the Theatre des Nouveaut^s, and in ' La 
Marquise des Roues ' at the Bouffes-Parisiens. 

MURRAY, ALMA, born in London, November 21, 1856, and 
made her first appearance on any stage in 1869, at the Olympic 
Theatre, London, as Saccharissa, in W. S. Gilbert's ' Princess.' 
From 1869 to 1875 she played various small parts at London- 
theatres, viz. the Olympic, Royalty, Adelphi, and Drury Lane. 
From August 1875 to April 1877 she was engaged in the provinces, 
playing " juvenile lead " characters, such, for example, as Rose 
Cudlip (' Forgiven '), Lottie (' Two Roses '), Kate Garston (' Lan- 
cashire Lass'), Constance Howard i^YzSze. Shame'), Clara Douglas 
(' Money '), Gertrude (' Little Treasure '), &c., &c. In September 
1877 Miss Murray reappeared in London at Drury Lane Theatre 
as Alice Bridgenorth, first performance of ' England in the Days 


of Charles II.,' by W. G. Wills, "rendering the character 
thoroughly girlish and attractive, and displaying much refine- 
ment " {Sunday Times, September 30, 1877). 

From October 1877 to February 1878 Miss Murray was engaged 
at the Adelphi, appearing as Eliza ('After Dark'), and Edith 
Burrowes (' Formosa'). During a part of 1879 she played in the 
provinces the part ai Esther Eccles in ' Caste;' and in June 1879, 
Julie de Mortemar in a revival of ' Richelieu ' by Mr. Irving at the 
Lyceum Theatre, where she is now (October lb79) engaged. 

♦MURRAY, DOMINICK, made his first appearance on the 
London stage at Astley's, March 28, 1853. It was not, however, 
until some ten years later that he attained any considerable success 
as an actor. His reputation, as far as our own stage is concerned, 
may be said to date from his connection with the Princess's 
Theatre, 1864-9, ^■^'^ his appearance in the plays of Boucicault first 
represented there. He was in the original cast of that author's 
drama ' The Streets of London,' as Dan, first performed at the 
Princess's Theatre August 5, 1864 ; and of ' Arrah-na-Pogue,' as 
Michael Feeny, first performed at the same theatre March 22, 1865. 
Mr. Dominicic Murray's acting in this latter character is mentioned 
in contemporary journals as " being excellent, and proving in him 
the possession of decided -tragic powers." During his engagement 
at the Princess's his name appeared in the original cast of Palgrave 
Simpson's drama ' Marie Antoinette' (February 15, 1869) as Turgy, 
and he also performed in the following April at the same theatre 
the character of Shylock. In the ensuing August Mr. Dominick 
Murray went to the United States of America, where he has since 
remained, and earned for himself the reputation of being an admir- 
able actor. 

MURRAY, GASTON, born in London 1826, and first appeared 
on any stage at the Prince's Theatre, Glasgow, in June 1854, as 
Charles in a piece entitled ' The. Happiest Day of My Life.' He 
made his ddbut on the London stage March 2, 1855, at the Lyceum 
Theatre, as Tom Saville in ' Used Up '; the late Charles Mathews 
acting in his original character, Sir Charles Coldstream. During 
the same year Mr. Gaston Murray proceeded on tour with the 
Lyceum company, and appeared in the following characters, viz. 
Tom Russelton in ' A Cosy Couple ' ; Harry Ringdove in ' The 
Ringdoves ' ; Faulkland in ' The Rivals ' ; Dick Dowlas in ' The 
Heir-at-Law'; Charles Paragon in 'Perfection'; Victor de Mor- 
nac in ' Retribution.' On January 28, 1857, he took part in the 
Windsor Castle Theatricals, appearing as Jules de Crussac in the 
play entitled ' Secret Service.' During the year 1859 he was 
engaged at the Manchester Theatre Royal, and played the follow- 
ing characters, viz. Felix Feather ley in ' Everybody's Friend ' ; 
Faust in the English version of ' Faust and Marguerite ' ; Laertes, 
and subsequently the Ghost in ' Hamlet' ; George Barnwell in the 
drama of that title ; Orlando in ' As You Like It' ; Duke Aranza 
in 'The Honeymoon'; IVil/ord in 'The Iron Chest.' In 1862 


Mr. Gaston Murray was a member of the company of the Olympic 
Theatre, and appeared with the late Mr. Robson in the following 
among other plays, viz. ' The Porter's Knot,' as Stephen Scatter, 
and ' Boots at the Swan,' as Frank Riskly. In 1863, at St. James's 
Theatre, he was the " original " George Talboys in ' Lady Audley's 
Secret' ; and also played the following characters, viz. Sir Benjamifi 
Backbite in ' The School for Scandal ' ; Sir George Touchwood in 
' The Belle's Stratagem ' ; Silky in ' The Road to Ruin,' &c In 
1867-8 Mr. Gaston Murray fulfilled engagements at the Strand and 
Queen's Theatres, and in the year following at the Haymarket, 
where he played Edward Ashley in the original cast of 'AH for 
Money.' In 1871 he was a member of the company of the Lyceum 
Theatre, appearing there in ' Pickwick' and ' The Bells.' In 1872 
he acted the character of Pickwick at the Standard Theatre, and 
afterwards, in the same year, became treasurer to Lord Londes- 
borough when that nobleman produced ' Babil and Bijou ' at the 
Theatre Royal, Covent Garden. 

daughter of the late Henry Hughes, of the Adelphi and Surrey 
Theatres, was born near Frankfort, Germany. She first appeared 
on any stage in 185 1, at the Guildford Theatre, as Sophia in' ' The 
Rendezvous ' ; and made her dAut on the London stage in 1853 at 
the Lyceum Theatre as Em7na Thornton in 'The Bachelor of Arts.' 
In 1857 she was engaged at the Olympic Theatre under Mr. Alfred 
Wigan's management, and afterwards, at the same theatre, for 
upwards of six years, during the entire management of Messrs. 
Robson and Emden. During her connection with the Olympic, 
Mrs. Gaston Murray played the following original parts, viz. ; 
Esther Hardacre in ' Daddy Hardacre,' by Palgrave Simpson — she 
acted this part at Windsor Castle in 1857 with the late Mr. Robson, 
" and received a special message of approval from Her Majesty " ; 
Alice in ' The Porter's Knot,' by John Oxenford ; Etnily St. 
Evrejnond in ' The Ticket-of-Leave Man ' ; Fair Rosamond in 
Burnand's burlesque of that title, and Galatea in the same author's 
'Acis and Galatea.' Mrs. Gaston Murray has fulfilled various 
engagements at all the principal theatres in London, and was a 
member of Mr. Hare's company for the whole period of his 
management of the Court Theatre, where she personated with 
much success Mrs. Primrose in Wills's play of ' Olivia ' ; Miss 
Tarragon in Hamilton Aidd's comedy of ' A Seven Days' Won- 
der ' ; Mrs. Pengicin, also Susan Hartley (during the temporary 
absence of Mrs. Kendal) in 'A Scrap of Paper'; Lady Matilda 
Vavasour in ' New Men and Old Acres,' &c. 

* MURRAY, MRS. LEIGH, has been for many years an 
actress, and has appeared at all the principal London theatres, 
notably at the Olympic, under the management of Robson ; at the 
Strand ; and at the Prince of Wales's with Mrs. Bancroft. Her 
original parts have been various and many. She was acting at the 
Strand Theatre as early as May 1849 as Mrs. Bodkin, a young 


wife, in Selby's ' Taken In and Done For,' and as Mrs. Chesterton 
in ' John Dobbs,' an amusing farce by Morton. Later, at the Prince 
of Wales's Theatre (1867), she played the Marquise de St. Maur 
in ' Caste,' and was the original Mrs. Kinpeck in ' Play,' February 
15, 1868. In August 1879 Mrs. Leigh Murray was engaged by 
Miss Genevieve Ward to play Mrs. Foley in ' Forget-Me-Not ' at 
the Lyceum, and in September she appeared as Madame Senechal 
at the Court Theatre in a revival of ' Fernanda,' under the manage- 
ment of Mr. Wilson Barrett. 


NEILSON, LILIAN ADELAIDE, was born in 1850, and made 
her first appearance on the stage at the Theatre Royal, Margate, at 
the age of fifteen, in Julia (' The Hunchback '). In July 1865 she 
made her dSut in London at the Royalty Theatre in the character 
of Juliet, but without attracting particular attention. The follow- 
ing year, Monday, July 2, in a drama by Mr, Watts PhiUips, 
entitled ' The Huguenot Captain,' then first performed at the 
Princess's Theatre, she played the part of Gabrielle de Savigny, 
and was noticed as being " a remarkably pretty and interesting 
actress, a little stiff and awkward in her movements, but with con- 
siderable command of facial expression. Her voice is pleasing, 
though it appears to have a slight lisp, and with proper tuition and 
practice she may hope to gain a good position on the London 
stage." {Daily News, ]\i\y 3, 1866.) The same year, in November, 
at the Adelphi Theatre, she sustained the part of Victorine in the 
drama of that title, brought out at the old theatre in 1831, when 
Mr. and Mrs. Yates, Mr. Buckstone, John Reeve, Hemming, and 
O. Smith played the principal characters. At the same theatre 
in 1867 (Saturday, March 16), first performance of Mr. Watts 
Phillips's play ' Lost in London,' she acted the character of Nelly 
Armroyd "with spirit and pathos." On September 25, 1868, at 
the Theatre Royal, Edinburgh, Miss Neilson appeared for the first 
time as Rosalind in ' As You Like It ' ; followed, on the succeeding 
evening by Pauline in ' The Lady of Lyons,' and on September 29 
by yuliain 'The Hunchback.' The Scotsman (September 30, 1868) 
remarked of this performance as follows : — " Miss Neilson as Julia 
opened with little promise of the true heroine she finally developed. 
There was flatness and insipid commonplace in the early scenes, 
but with the progress of the piece she fitted herself with artistic 
aptitude to the highest requirements of the part, and by the time the 
curtain had risen on the second act she was entirely the personage 
it was her office to present. The play abounds in opportunities for 
skilful and effective display, and it is not only in her efficient 
employment of these, but also in the admirable manner in which 
she sustains the most incidental links in the plot, that the success 
of Miss Neilson's ample and accurate delineation of this heroine is 
to be traced." 

On Friday, October 2, 1868, at the same theatre, Miss Neilson 
acted the heroine's part in a play by Mr. Palgrave Simpson, 
entitled ' Stage and State,' founded on a French drama, ' Beatrix ; 
ou la Madone de I'Art ' of Legouvd, a play in which Madame Ristori 
some time before had created a great sensation at the Vaudeville in 
Paris. The English version was not a success. The following 
month Miss Neilson appeared at the Theatre Royal, Birmingham, 
in a play by C. Williams (a Birmingham dramatist), adapted from 
an early novel of Miss Braddon's, entitled ' The Captain of the 
Vulture.' In March 1869, at the Lyceum Theatre in London, first 
performance there of Dr. Westland Marston's play ' Life for Life,' 


she acted the part of Lilian. In this play the Aihen(swn (March 
13, 1869) took occasion to speak of Miss Neilson as an actress of 
great power. " Her method in art is as yet imperfect. The demon- 
strations of passion are confined to low and emphasized speech, 
with an accompaniment of appropriate gesture. She has yet to 
learn that hurried and breathless accents and sharp incisive pro- 
nunciation of words are as powerful means of expressing sorrow or 
fear as those to which she confines herself Her acting, accord- 
ingly, fine as it was, wanted variety. Some movements of her body 
were over sinuous, a few of her notes were too loud as too sus- 
tained, and her transition from tragic grandeur to girlish prettiness 
of speech and face was too sudden. A tendency to over attitudiniz- 
ing was also displayed. Here censure ends. In the most im- 
portant respects the impersonation was finest. It had true tragic 
fire. Some of the attitudes of Miss Neilson were full of grandeur ; 
her utterance was musical and impressive, and her face assumed at 
times a look full of awe and tragic portent. The delivery of some 
passages had, moreover, very subtle significance. Practice and 
care are alone required to secure for Miss Neilson a high and 
enduring reputation." The following October (Monday, the 1 ith), 
at the Gaiety Theatre, London, first performance of ' A Life 
Chase ' (by John Oxenford and Horace Wigan), she played the 
leading role — Madame Vidal. In December 1869, at the same 
theatre, first performance of ' Uncle Dick's Darling,' she sustained 
the part of Mary Bclton, and on Monday, April 11, 1870, at the 
Gaiety Theatre, she appeared as Julia in a revival of ' The 
Hunchback.' During this year — 1 ommencing on May 26th — Miss 
Neilson gave an entertainment, under the title of ' Dramatic Studies,' 
at St. James's Hall, with great success. " Miss Neilson possesses 
several vei-y necessary qualifications for a good reader. She has a 
handsome presence and an expressive face, which are no unworthy 
adjuncts to the gracious delivery of lofty sentiments. She has a 
harmonious voici-, capable of very great mcdulation ; and she has 
a most artistic command of what may be called the tiiatdriel of 
elocution — the inflections ; it is not surprising, therefore, that her 
appearance at St. James's Hall should have proved a decided suc- 
cess, especially as she was aided by a well-selected programme. 
The readings consisted of scenes from ' The Provoked Husband,' 
from Schiller's ' Wallenstein,' from 'The Taming of the Shrew,' 
Racine's ' Phddre,' and Congreve's ' Love for Love.' " [Examiner, 
June 4, 1870.) 

In 1870, on Saturday, September 24, first performance at Drur>' 
Lane Theatre of the drama of ' Amy Robsart,' she acted the title 
rSle. " For the character of Amy Kobsart it would certainly have 
been difficult to find another such a representative as Miss Neilson, 
who, notwithstanding some faults of nature, is an actress of true 
dramatic genius. Her passionate appeals to the truth and honour 
of Leicester were finely contrasted with the tenderness of her love 
passages. In the great scene with the jealous and suspicious 
Queen in the garden at Kenilworth, her acting rose to a higher 
level of pathetic force ; and finally her struggles with Varney, and 


her womanish terror at the prospect of death, were depicted with 
an intensity which powerfully excited the feelings of the audience." 
{Daily News, September 26, 1870.) The same year at Drury Lane 
Theatre, on Monday, December 19, Miss Neilson appeared as 
Juliet, the character in which she had made her earliest appear- 
ance on the London stage, and which still remains the impersona- 
tion of all others in which she displays her talents to the highest 
advantage. On this occasion the whole of the tragic scenes were 
rendered by her with high intelligence, accompanied by a power of 
interpretation and revelation to which Drury Lane Theatre had 
long been a stranger. " There is, perhaps, no actress now on the 
stage who more perfectly understands the routine of the part," re- 
marked the Times (December 21, 1870), "and certainly there are 
none who can give greater force to the scenes in which frequenters 
of the playhouse look for marked eifects. The balcony scene, the 
'tiff' with the nurse, the soliloquy in the chamber, and the death 
on Romeo's corpse, give evidence of thorough and conscientious 
study. In an age when tragedy is out of fashion the young and 
rising actress has determined to make Juliet her own, and the 
applause of a crowded audience bore witness to her success." In 
March 1871 Miss Neilson entered upon a tour of the United 
Kingdom, appearing principally in her original part of Amy Rob- 
sart. On Saturday, September 23 of the same year, she acted the 
part of Rebecca in the drama of that title, founded on Sir Walter 
Scott's novel of ' Ivanhoe,' then performed for the first time at Drury 
Lane. On December 18 of the same year she appeared at the 
same theatre as Rosalind in a revival of ' As You Like It.' In the 
month of September 1872 Miss Neilson gave a series of farewell 
performances at the Queen's Theatre, Long Acre, prior to Tier 
departure for America. In these were included ' Romeo and Juliet,' 
in which she played Juliet, and ' The Lady of Lyons,' in which she 
acted the part of Pauline. Both impersonations were eminently 
successful. " Juliet is Miss Neilson's masterpiece. In this cha- 
racter she made her ddbut before a London audience, and upon it 
she has since bestowed long and conscientious study. . . . Miss 
Neilson's Juliet is now a ripe and sustained performance, ascending 
in the latter acts of the play to a tragic elevation and fire that seem 
less art than inspiration. To say that the potion scene has a 
passionate intensity and a concentrated power such as no modern 
representation on the English stage has exhibited, is to do it no 
more than justice. The tenderness and grace of the early scenes 
are in striking contrast with the gloom and terror of the later. 
When the last waning faults of self-consciousness are removed, 
there will be nothing to bring against this fine interpretation. 
The power of the actress was shown by the manner in which 
she triumphed over difficulties, and held the audience enthralled in 
spite of the absurd accessories of the performance." {Aihenaum, 
September 21, 1872.) 

On November 18, 1872, Miss Neilson "opened" at Booth's 
Theatre, New York, in her favourite character. Her acting was 
received with much enthusiasm. During the tour through the 



United States and Canada which followed, she appeared in the 
following characters in addition to Juliet, viz. Beatrice in ' Much 
Ado About Nothing'; Pauline in 'The Lady of Lyons'; Lady 
Teazle in ' The School for Scandal '; Julia in ' The Hunchback '; 
and Isabella in ' Measure for Measure.' Her career in the United 
States was one of extraordinary success. The New York Tri- 
bune, in alluding to the last of a series of performances given by 
Miss Neilson in New York in 1875, remarked that " since the 
night when Dickens, with slow step and sad face, made his last 
exit from the stage of Steinway Hall, there had been no theatrical 
occasion in the American capital at once so animated with chivalry 
and touching with sense of sorrow and loss as that on which Miss 
Neilson bade farewell for a time to the good people of New York." 
In 1876, Monday, January 17, Miss Neilson reappeared on the 
Hay market stage, and during the season played Juliet, Rosalind, 
Anne Boleyn (on the occasion of the first performance of Mr. 
Tom Taylor's play of that title, Saturday, February 5), Julia in 
' The Hunchback,' and Isabella in ' Measure for Measure.' " The 
announcement that Shakespeare's ' Measure for Measure ' has not 
been presented in London for ' nearly a quarter of a century ' will 
make the playgoer rub his eyes and reflect once more upon the 
swift flight of time. . . . On the first representation of the comedy 
an enthusiasm was shown which is a direct compliment to the 
acting of nearly all concerned in it. The Isabella of Miss Neilson 
was particularly admired, and at the conclusion of the prison scene 
the actress was called before the curtain three times and literally 
pelted with bouquets. So highly intelligent and carefully studied 
a performance really deserved some eloquent and marked praise; 
and it is certain that our stage is not so rich in actresses capable 
of attempting Isabella that we can aflbrd to dilute the success with 
many doubts as to the soundness of the verdict. The mere fact 
that ' Measure for Measure ' has been produced, and has held a 
critical audience, that a play has been seen that would otherwise 
have remained in its hiding-place, that Isabella has been prettily 
sketched if not boldly painted, suggested, no doubt, ' such en- 
couraging and appreciative applause. If at any time it is urged 
that Miss Neilson's Isabella is interesting rather than powerful, 
graceful rather than intense, unequal in sustained strength, and 
occasionally, as in the last act, inclined to fade and wane instead 
of burning brightly with a clear and undimmed light, it must be 
remembered that the actress still shows traces of exhaustion and 
prostration from illness, and that the Isabella comes after many 
representations of Juliet and Anne Boleyn. It is possible that 
those who cheered so loudly and so generously have not seen 
Isabella at her best; but the experience of many playgoers in 
the house warranted some cordiality after so unusual and — in these 
days— so welcome a performance." {Daily Telegraph, April 3, 

In 1877 Miss Neilson again visited the United States. During 
a season of eight months she appeared there as Viola, ' Twelfth 
Night,' and Imogene, ' Cymbeline,' both new chai-acters to her. 


She appeared also in the before-mentioned characters, viz. Juliet, 
Rosalind, Isabella, Viola, and Julia, during her engagement at the 
Haymarket Theatre terminating in May 1878. On February 27, 
1879, she appeared at the Adelphi Theatre as Queen Isabella, first 
performance of 'The Crimson Cross;' and afterwards, during the 
summer season at the same theatre, as Julia and Lady Teazle, 
and in her " original " part of Amy Robsart in Andrew Halliday's 
well-remembered drama. In October 1879 she again left England 
for America. 

NELSON, MRS. JOHN. See Leclercq, Carlotta. 

NEVILLE, HENRY GARSIDE, son of the well-known actor 
and theatrical manager, the late John Neville, was born in Man- 
chester in 1837. He entered the dramatic profession at an early 
age under his father's auspices, and made his first appearance on 
the London stage, October 8, i860, at the Lyceum Theatre under 
Madame Celeste's management. On the 12th of the following 
month he there performed the part of Victor Savignie on the 
production of ' Adrienne ; or. The Secret of a Life.' Afterwards 
he fulfilled a series of engagements at Liverpool, Manchester, 
Birmingham, and Dublin theatres ; and in 1 861 was enrolled a 
member of the company of Messrs. Emden and Robson at the 
Olympic Theatre in London. At this theatre he remained for four 
years, playing various leading parts in the plays produced on its 
stage ; and here, in May 1863, made his first important dramatic 
success as the " original " Bob Brierly in Tom Taylor'^ drama 
'■■ The Ticket-of-Leave Man,' adapted from the French ' Leonard,' 
of MM. Edouard Brisbarre and Eugfene Nus. Mr. Neville, who had 
already won a position in public favour, gained much praise for the 
earnest, truthful, and natural manner in which he delineated the 
struggles of a man who, striving to redeem his early folly, and to 
free himself from the stigma that has been its consequence, finds 
every avenue to a better life gradually closed against him. The play 
was eminently successful, and, generally, has proved attractive with a 
London audience whenever revived in later years. At the Olympic 
Theatre Mr. Neville has won several other successes, of which the 
more noteworthy are Henry Dunbar in Tom Taylor's version of 
Miss Braddon's novel of that title, and Jean Valjean in the drama 
of ' The Yellow Passport,' adapted by Mr. Neville himself from 
M. V. Hugo's ' Les Mis^rables.' 

After a stay of some four years at the Olympic he joined the 
company of the Adelphi Theatre, and appeared there as Job Arm- 
royd in ' Lost in London '; and as Farmer Allen in Charles 
Reade's dramatic version of Tennyson's ' Dora.' The part of Job 
Armroyd was admirably played by Mr. H. Neville, and largely 
increased his reputation. "Job Armroyd, if we do not admire 
him as an adept in social science, we readily acknowledge as a 
most effective stage figure ; and although Mr. Neville has long 
distinguished himself as a serviceable actor .... he perhaps 
never played so well as when he represented the elderly miner, 

T 2 


uncouth in gait, rough in dialect, but always of a manifestly earnest 
and affectionate disposition." {Times, March i8, 1867.) In the 
principal role of ' Put Yourself in His Place,' Charles Reade's 
adaptation of his own novel of that title, Henry Neville's acting 
attracted favourable notice. He had evidently studied the in- 
tentions of the author very thoroughly, and his impersonation of 
the hard-working Sheffield mechanic was singularly life-like and 
truthful in detail. On completing his engagement at the Adelphi 
Theatre Mr. Neville appeared at various London theatres for short 
seasons — at the Holborn, the Duke's, and the Globe. In 1873 
he returned to the Olympic as lessee, and assumed, in connection 
with that position, the management of the theatre, which he 
retained until 1879. The following list of noteworthy plays, pro- 
duced at the Olympic between the date of Mr. Neville's first 
entering upon the lesseeship and August 1879, ^^e worthy of being 
recorded as an indication of his dramatic enterprise : Season 1873-4 
— ' Sour Grapes ' (Byron) ; ' Richelieu Redressed ' (Reece) ; ' School 
for Intrigue' (Mortimer); ' Clancarty ' (Tom Taylor). Season 
1874-5— 'Two Orphans' (Oxenford) ; 'Spendthrift' (Albery) ; 
' Ticket-of- Leave Man ' (revival). Season 1875-6 — 'Buckingham' 
(W. G. Wills) ; ' Clytie ' (J. Hatton) ; ' The Gascon ' (Muskerry) ; 
' Home, sweet Home' (Farjeon). Season 1876-7 — ' No Thorough- 
fare' (Dickens and Collins) ; 'Si Slocum ' (F. Trayne and Tayleur); 
' Queen of Connaught ' (Buchanan ) ; ' Wife's Secret ' (revival) ; 
'Scuttled Ship' (C. Reade) ; 'Viohn Maker of Cremona' (M. 
Frangois Coppde and Neville); 'Lady Audley's Secret' (revival). 
Season 1877-8— 'The Moonstone' (Wilkie CoUins) : 'Henry Dunbar' 
(revival) ; ' Turn of the Tide ' (Burnand) ; ' Jealousy ' (C. Reade). 
1878-9—' The Two Orphans ' (revival). 

In August 1878 Mr. Neville entered upon an engagement to play 
Pierre Lorance in the drama of ' Proof,' produced at the Adelphi 
Theatre. In the summer of 1879 he relinquished the management 
of the Olympic, and appeared nightly at the Adelphi Theatre, 
playing the parts of Master Walter ;;' The Hunchback') and 
Charles Surface ('The School for Scandal'). During the season 
he appeared at the same theatre as Bob Brierly in a revival of 
'The Ticket-of-Leave Man.' 


NORTON, FLEMING, appeared at the Olympic Theatre, 
September 20, 1879, as Sir Joseph Porter in ' H.M.S. Pinafore,' in 
place of Mr. J. G. Taylor. 


PATEMAN, ISABELLA, wife of the undermentioned Robert 
Pateman, made her debut on the London stage October 28, 1876, 
as Lady Clancafty, in a revival of that play at the Olympic Theatre. 
She had previously acquired a considerable reputation as an actress 
in America, and before going to that country had performed in the 
provinces. The Times (November 2, 1876) noticed her d'lbiit in 
the following terms : — " The present performance possesses, among 
others, one particular feature of interest in the introduction to the 
London stage of a new actress. Miss Pateman has hitherto been 
known only in the theatres of the United States and of our own 
country towns, and she must be regarded as fortunate in making 
her first appearance in London in such a character as that of Lady 
Claiicarty. For her performance of this character she has been 
much, and in many respects justly, praised. She has evidently 
studied with much care, and has made herself a thorough mistress 
of the mechanical details of her art, the only true means to the 
attainment of that higher excellence to which we should be sorry to 
say Miss Pateman may not hope to aspire. At present, however, 
. the results of her study, though perfect in themselves, are a little too 
apparent. Nor has she as yet mastered the secret of those last 
delicate touches which make that appear to be nature which we 
know to be art. Her acting, though artistic, is somewhat formal 
and cold ; it lacks fire, and at times even grace. We miss the 
tenderness of Lady Clancarty^ and though the passion is accurately 
enough expressed, it scarcely rings true. Nor do we think Miss 
Pateman has invested the part with quite enough of the 'grand air,' 
which, by virtue of her birth and courtly training, would belong to 
the heroine ; this objection, by the way, applies with still greater 
force to the present representative of Lady Betty Noel, whose arch- 
ness and piquancy, though not to be denied, belong more to the 
soubrette than to the lady-in-waiting. We have pointed out the 
faults which Miss Pateman's acting seems to us at present to show. 
They are faults, however, from which an actress who has had 
patience and intelligence enough to thoroughly ground herself in 
the first principles of her art may be accredited certainly with the 
desire, and possibly the means, to free herself." 

Since her first appearance on the metropolitan boards Miss 
Pateman has played in various pieces at the Olympic, notably 
Lady Eveline in a revival of ' The Wife's Secret,' and the leading 
female rdle in Charles Reade's drama ' The Scuttled Ship,' first 
performed there in April 1877. In April 1878 she was in the 
original cast of ' Proof ; or, a Celebrated Case,' first performed on 
Saturday, 20th of that month, at the Adelphi Theatre, sustaining 
the part of Adrienne. Later (season 1878-9), Miss Pateman has 
been playing at the same theatre Lady Sneerwell in a revival of 
' The School for Scandal ' and Queen Elizabeth in a revival of 
' Amy Robsart.' 


*PATEMAN, ROBERT. Made his first appearance on the 
London stage September 30, 1876, at the Olympic Theatre, as 
Carigue in the play of ' The Duke's Device,' and has for some time 
been a member of the Adelphi company. 

PATTISON, KATE, was born in Chelsea, and made her debut 
on the occasion of the late Mr. Compton's benefit at the Theatre 
Royal, Manchester, March 26, 1877, in the comedietta 'To OMige 
Benson.' Miss Pattison had been previously associated with 
Miss Emily FaithfuU in the conduct of the 'Victoria Magazine,' and 
accompanied that lady during a year's tour in the United States. 
She made her first appearance in London at the St. James's Theatre 
in ' A New Way to Pay Old Debts,' Mr. Herman Vezin playing 
the character of Sir Giles Overreach. Miss Pattison was afterwards 
engaged by Mr. Chatterton and played at the Princess's Theatre, 
subsequently accepting an engagement at the Lyceum, under the 
management of Mrs. Bateman. In the autumn of 1878 she accom- 
panied Mr. and Mrs. Kendal on their tour through the provinces, 
playing the part of Countess Zicka in ' Diplomacy ' in a way that 
obtained very favourable notice : — " Endowed with a fair presence, 
an expressive face, and a voice of rich tone, she lends valuable 
natural gifts to a fine histrionic perception in her interpretation of 
the Hungarian adventuress. In her jealousy, as in her revenge, 
and again in her remorse, when at the end she makes confession of 
her deeds, every gesture and every tone had its effect, and were 
essential elements of the success of her clever and precise imper- 
sonation." {Manchester Examiner.) In January 1879 she was 
engaged by Mr. Hare for the Court Theatre, and there played 
Lady Ingram in • A Scrap of Paper ' and the principal part in Mr. 
Val Prinsep's comedietta ' Cousin Dick.' More recently (November 
1879) she has appeared at St. James's Theatre. 

PAULTON, HARRY, was born in Wolverhampton, and first 
appeared on any stage, in that town, in i86i. Subsequently, for 
several years he acted there, and at Wakefield, Derby, North- 
ampton, Leeds, York, &c. Having adopted "low comedy " in 1864, 
Mr. Paulton was in the year following engaged for three seasons at 
the Theatre Royal, Glasgow, where he became exceedingly popular ; 
afterwards joining the company of the Theatre Royal, Birmingham ; 
and, at the termination of that engagement, the company of the 
Prince of Wales's Theatre, Liverpool. He made his dibut on the 
London stage June 23, 1867 (appearing for one night only), at the 
Surrey Theatre, as Wormwood in ' The Lottery Ticket,' acquitting 
himself in a creditable manner. Mr. Paulton's connection with 
the London stage may be said to have begun in 1870 with his 
engagement at the Strand Theatre, where he first appeared as 
Blueskin in the burlesque of ' The Idle 'Prentice.' He there became 
favourably known to the London public as a burlesque actor of 
considerable quaintness, enlarging his dramatic reputation by an 
admirable rendering of the part of Uncle Sedley in a comedy by 
Arthur Sketchley entitled ' Up in the World,' first performed at 
the Strand in February 1871. In April 1872 he joined the company 


of the Alhambra Theatre, of which he remained a member for five 
years, appearing during that period for the most part in opera 
bouffe— ' King Carrot,' ' The Black Crook,' ' Don Juan,' ' La Belle 
H^l^ne,' &c., &c. 

♦PAUNCEFORT, GEORGIAN A.was a member of the company 
of the Surrey Theatre under Messrs. Shepherd and Anderson's 
management in 1862, and was playing there in ' The Medal of 
Bronze,' ' Effie Deans,' and ' Winter's Tale ' in that and the suc- 
ceeding year. In 1864 she appeared with considerable success at 
the Surrey as Jane Grierson. ("an orange girl") in a drama by 
Henry Leslie and Nicholas Rowe entitled 'The Orange Girl.' 
She was attached to that theatre for some years as the leading 
actress, performing in various original dramas placed on its stage 
and also in revivals of Shakespearian plays. Miss Pauncefort was 
in the original cast of ' 'Twixt Axe and Crown,' as Queen Mary, 
when that play was first produced at the Queen's Theatre in 
January ibyo. In the following year she accepted an engagement 
at the Lyceum Theatre, and " created " the character of Catherine 
in ' The Bells,' first performed in December of that year. At the 
same theatre in 1872 she was the "original" Lady Eleanor Davys 
in W. G. Wills's play of ' Charles 1.,' and later, played there the 
Countess de Miraflore in Aide's ' Philip.' In 1874 she sustained 
at the same theatre the character of Hecate in the revival of 
' Macbeth.' Miss Pauncefort has also appeared there in other 
revivals — in ' Hamlet ' as Gertrude, in ' Richelieu ' as Marion de 
Lorme, &c., with success. 


♦PHILLIPS, KATE (Mrs. H. B. CONWAY [Coulson]), 
made her first appearance on the London stage at the Hay market 
Theatre as Gabrielle in a piece with the title of 'Tom Noddy's 
Secret.' She is a clever and pleasing actress of what are known as 
" soubrette " parts. 

PINERO, ARTHUR WING, bom in London 1855 ; son of a 
solicitor, and grand-nephew of Captain Thomas Wing, who fought 
on board the ' Victory ' at Trafalgar. Mr. Pinero was educated for 
the legal profession ; but having no particular liking for the law 
forsook it for the drama. He first appeared on the stage at the 
Theatre Royal, Edinburgh, on the 22nd June, 1874, and continued 
at that theatre, under the management of Mr. and Mrs. R. H. 
Wyndham, until the 6th February, 1875, when it was destroyed by 
fire. On the ist March following he joined the company of the 
Alexandra Theatre, Liverpool, under Mr. Saker. Mr. Pinero made 
his first appearance in London, April 15, 1876, at the Globe 
Theatre, in the character of Mr. Darch in Wilkie ColUns's play of 
' Miss Gwilt.' On September 4 of the same year he joined the 
Lyceum company, and played Claudius to Mr. Irving on his first 
" Hamlet tour," in all the principal theatres in the United Kingdom. 
Siihsenuentlv Mr. Pinero plaved Lord Stanley in the Lyceum 


revival of Shakespeare's ' Richard III.' ; Shrowl in Wilkie Collins's 
' Dead Secret,' &c. On December 26, 1877, he played Marquis of 
Huntley in a revival of ' Charles I.' at the Lyceum Theatre, and as 
Montgomery Clutterbuck in his own comedietta ' Two Can Play at 
That Game.' June 8, 1878, first performance of W. G. Wills's 
' Vanderdecken ' at the same theatre, he enacted Alderman J or gens. 
During the same year he went on tour with Mr. Irving, and rejoined 
his company at the opening of the Lyceum Theatre for the season 

Mr. Pinero is author of ';^20o a year,' a piece first played at the 
Globe Theatre, London, in October 1877 ; of ' La Comfete ; or, Two 
Hearts,' an original drama in four acts, and of other pieces. 

PITT, HENRY MADER, born in Albany, U.S., September 
16, 1850 entered the dramatic profession 1865, appearing at the 
Theatre Royal, Sheffield, in a comedy entitled ' Under the Rose.' 
He was connected with the same theatre, playing various light- 
comedy parts, until 1870. In August 1872 he accepted an engage- 
ment as stage-manager of the Queen's Theatre, Manchester. In 
May 1873 he joined Craven Robertson's 'Caste' company, playing 
the following characters, viz. George D'Alroy ('Caste'), Lord 
Beaufoy ('School'), and Angus McAlister ('Ours'). Mr. Pitt 
made his first appearance on the London stage at the Standard 
Theatre, June 1874, as Lord Beaufoy, "playing well and carefully, 
not the least of his good qualities being his distinct enuncia- 
tion" {Standard, June 1874). In May 1875 Mr. Pitt assumed the 
management of ' The Two Roses ' company, playing the following 
parts : Jack Wyatt ('Two Roses'), Claude Redruth ('Forgiven'), 
Tom Penryn ('Apple Blossoms'), Jones ('Two Thorns'). In 
April 1876 he appeared at the Theatre Royal, Bristol, as Lord 
Chilton in Marshall's ' False Shame,' since which time he has 
performed this character with much success at nearly every 
principal provincial theatre in the United Kingdom. At the Im- 
perial Theatre (attached to the Aquarium), Westminster, in a 
revival of ' She Stoops to Conquer ' (commencing Easter Monday, 
April 14, 1879), he played Young Marlow. 

PITT, MRS. H. M. ^«« Addison, Fanny. 

POWER, CLAVERING, son of the late Edward Power, Esq., 
of the Middle Temple, barrister-at-law, was born in London 1842, 
and educated at King's College, London. He entered the Madras 
Army as ensign December 1859, and subsequently joined H. M. 
105th Regiment. He served for seven years in India, and retired 
from the service as lieutenant in 1870. In that year Mr. Power 
entered the dramatic profession, and in October made his ddbut on 
the London stage at the Victoria Theatre as Woodcock in the farce 
of ' Woodcock's Little Game.' Afterwards, on tour in the provinces, 
he played the part of Caleb Deecie in Albery's comedy ' The Two 
Roses.' He has been engaged as "leading actor" at several 
theatres in the provinces; and in 1877-8 fulfilled engagements at 


the Folly and Alhambra Theatres in London, appearing for the 
most part in opera bouffe — the ' Grand Duchess,' ' La Fille de 
Madame Angot,' &c, 

POWER, GEORGE, was born in Kilkenny County, Ireland, 
December 24, 1848, and first appeared on the stage in December 
1876, at Teatro Manoel, Malta, in the part of Almaviva in 
' Barbifere di Siviglia.' He made his d^but on the London stage 
December (Boxing Night) 1877, at Her Majesty's Theatre, in the 
tenor part in ' Swiss Cottage.' Subsequently he entered upon an 
engagement at the Opdra Comique, and appeared there, February 
1878, in a revival of 'The Sorcerer' (Gilbert and Sullivan), and 
'Trial by Jury' (same authors). May 25, 1878, first performance 
at the same theatre of ' H.M.S. Pinafore' (same authors), Mr. 
Power " created " the part of Ralph Rackstraw, " in concerted 
pieces displaying a light tenor voice of very agreeable quality, and 
acting the part of the sentimental lover well" {Daily News, May 27, 


"SLPCI^H-E., LIN, was born in Calcutta. He first appeared on 
the London stage at the Lyceum Theatre, October 3, 1868, in the 
part of Faulkner, first performance of Lord Lytton's drama ' The 
Rightful Heir.' After leaving the Lyceum Mr. Lin Rayne joined 
Mr. Barry Sullivan's company at the Holborn Theatre, where he 
made his first success in a comedy entitled ' Plain English.' During 
this engagement he played "leading juvenile and light comedy 
business." Among " original " parts played by him the following 
are deserving of mention : Marquis cfArcis in ' Fernande '; Jones 
in 'Two Thorns'; Tom in 'Apple Blossoms.' In a revival of 
' The School for Scandal ' in April 1874, at the Prince of Wales's 
Theatre, London, he acted the part of Sir Benjamin Backbite. 

REDMUND, WILLIAM, was born in London, and first 
appeared on the stage at the Theatre Royal, Margate, June 
1874, in the character of Brown, 'New Men and Old Acres.' 
In the following year, on Easter Monday, he made his Mut on 
the metropolitan stage at the National Standard Theatre in a 
drama entitled ' Rank and Fame.' He remained at this theatre 
for several seasons as "leading man" and stage-manager, meeting 
with creditable success in such parts as Nicholas Nickleby, Tom 
Mayfield, &c., and playing the "juvenile parts" during an engage- 
ment of Mr. Creswick. He has also played in the provinces 
at various leading theatres. In London he has appeared at the 
Duke's Theatre (as Landry in a piece entitled ' Little Cricket ") ; 
and at the Haymarket ; at the Court Theatre for a short season as 
'■jeune premier 'y and at the Princess's, where in a revival of Never 
Too Late to Mend' (1878-9) he appeared as ihe. Rev. Mr. Eden. 
At the same theatre, on Monday, June 3, 1879, fi''st performance of 
' Drink' (founded on M. Zola's novel ' L'Assommoir'), an English 
version of a French play by Charles Reade, he acted the part of 

REED, MRS. GERMAN {nde HoRTON, Priscilla), first at- 
tracted notice in London as an actress in melodrama at the Victoria 
Theatre, under the management of Messrs. Abbot and Egerton, 
and when Mr. Sheridan Knowles and Miss Mitford endeavoured 
to support its interest by allowing their plays to appear on its 
boards. She was playing at that theatre in February 1834 as Kate 
in Sheridan Knowles's drama ' The Beggar of Bethnal Green.' In 
August 1835 she appeared at the English Opera House, in a Scotch 
ballad opera called 'The Covenanters,' and an agreeable trifle, 
performed under the title of ' Domestic Arrangements.' In January 
1836 Miss Horton zealously contributed to the success of a new 
burletta first performed in that month at the St. James's Theatre, 
entitled ' Monsieur Jaques.' In a revival of ' The Tempest,' at the 
Theatre Royal, Covent Garden, October 1838, she played the part 
of Ariel. At the same theatre, during the following year, Miss 


Horton played in English opera. On Tuesday, March 16, 1840, 
she sustained the part of Ophelia at the Haymarket Theatre, under 
Mr. Benjamin Webster's management, in a "revival" of ' Hamlet,' 
with Macready and Phelps in the principal parts, " the only striking 
novelty in the performance being the Ophelia of Miss P. Horton, 
which approached very nearly to the wild pathos of the original 
in one scene, and was touching and beautiful in all" {Athenceum, 
March 21, 1840). At the same theatre, during the same year (Tues- 
day, December 8), Miss P. Horton sustained the part of Georgina 
Vesey, iirst performance of the late Lord Lytton's play of ' Money.' 
In 1841 she was still a member of the company of the Haymarket 
Theatre, appearing in various comedies. In 1842 (November 16), 
at Drury Lane, under Macready's management, she played with 
some success the part of Philidel, in a " revival " of Purcell's 
'King Arthur'; and in March of the following year appeared in 
the title r6le of the fairy spectacle ' Fortunio and His Seven Gifted 
Sisters.' In 1844 (January i), at the Haymarket, "in one of the 
neatest and smartest of the elegant series of extravaganza for which 
the town is indebted to Mr. Planche," Miss P. Horton performed 
the part of Graceful. She continued a member of the Haymarket 
company until the end of the season 1846. At this period of her 
career she is mentioned in a contemporary journal as "' one who 
ought to have been by this time the first contralto on our stage, 
now that Mrs. Shaw has left it." She acted in extravaganza and 
pantomime, produced annually at Easter and Christmas, and, in 
fact, was the mainspring of this class of entertainment at the Hay- 
market under Mr. Benjamin Webster's management. Tuesday, 
December 7, 1847, Miss P. Horton acted (with the leading players 
of the day), at Covent Garden Theatre, the part of Ariel (' Tem- 
pest,' act I, sc. 2), in aid of the " Fund for the Purchase and 
Preservation of Shakespeare's House at Stratford-on-Avon." In 
1849 she played in the various Shakespearian "revivals" of Mr. 
and Mrs. Charles Kean at the Haymarket. From 1850 to 1854 
Miss P. Horton appeared from time to time at the Haymarket, 
Drury Lane, and Olympic Theatres, for the most part in extrava- 
ganza. The latter year -she went on a " starring " tour in the pro- 
vinces " with a sort of entertainment or medley song, in which the 
different European styles of singing are represented or parodied," 
in regard to which the following entry appears in Prof. Morley's 
Journal of a London Playgoer, pp. 1 13-14 : — "March 17, 1855.— 
An entertainment entitled' Illustrative Gatherings ' was given last 
Monday at the St. Martin's Hall by Miss P. Horton. The lady 
who by this name is so widely known as a public favourite is the 
wife of a skilful musician and composer, Mr. T. German Reed, who 
assists in the entertainment. Mainly it consists, however, of those 
characteristic songs and personations by which Miss P. Horton 
won her reputation on the stage. In one of the latter she admir- 
ably represents a dialogue between two old women, being differently 
dressed on either side so as to put each vividly in turn before her 
audience. Another of her characters is a singing, laughing dandy 
in ringlets and moustache, whose methode as a dandy singer is hit 


off with exquisite skill. And throughout it is delightful to hear her 
fine voice and observe her free, cordial, unaffected manner." This 
entertainment was the forerunner of the amusing and popular series 
of drawing-room plays given for so many years by Mr. and Mrs. 
German Reed at "The Gallery of Illustration," Regent Street, 
London, and now (1879) at St. George's Hall, Langham Place. 
Miss P. Horton's last appearance on the stage proper took place 
in 1858. 

REEVE, WYBERT, was born in London 1831, and entered 
the dramatic profession at Bradford, Yorkshire, in 1849, playing 
the part of Frederick in ' The Wonder.' Afterwards he joined the 
York circuit, appearing in various juvenile leading parts, as Azael, 
Sir T. Clifford, &c. In 1852, at Plymouth, he produced his first 
dramatic piece, a farce, entitled 'An Australian Hoax.' In 1855 
he joined the Bath and Bristol company. The same year he wrote 
and produced a farce entitled ' Supper Gratis,' acted during the 
summer months in Mr. Roxby's circuit. In 1857 Mr. Reeve 
became a member of the Theatre Royal, Manchester, company, 
with whom he acted for four consecutive seasons, as light and 
eccentric comedian. During this engagement, he produced a 
comedietta entitled 'A Match for a Mother-in-Law,' and was also 
part author of the successful pantomime entitled ' Blue Beard.' 
On leaving Manchester to enter upon the management of the 
Cardiff, and subsequently of the Swansea and Ryde Theatres, 
Mr. Reeve was presented with a testimonial by his professional 
colleagues of the Theatre Royal. In 1862 he managed the Theatre 
Royal, Sheffield, under the lesseeship of Mr. Charles Pitt, a posi- 
tion which Mr. Reeve resigned in 1865, for the purpose of opening 
the New South Shields Theatre. In 1867 he became lessee of the 
Theatre Royal, Scarborough, of which, however, he has now (1879) 
ceased to be proprietor. At Sheffield he produced ' Pike O'Calla- 
ghan,' an Irish two-act piece, which was afterwards played in 
London at the Surrey Theatre ; a three-act comedy, ' Not So Bad 
After All ' ; and the three successful pantomimes entitled ' The 
Dragon of Wantley,' ' Robinson Crusoe,' and ' Little Red Riding 
Hood,' of which pieces he is author. He made his first appearance 
on the London stage, October 1869, at the Lyceum Theatre, as 
yohn Mildmay in ' Still Waters Run Deep.' " Mr. Reeve pos- 
sesses the necessary qualifications to render his assumption of 
John Mildmay essentially popular — a- pleasing physique, deep 
sonorous voice, distinct enunciation, gentlemanly self-possession 
of no common order, and a thorough knowledge of stage business ; 
all are brought to bear in his representation, the result being a 
genuine and well-deserved success." (Standard, October 1869.) 
Subsequently Mr. Reeve produced and appeared in his comedies 
of ' Won at Last,' and ' Not So Bad After AH,' at the Charing Cross 
Theatre, with success. In 1871 (after playing in the provinces) he 
returned to London and appeared at the Olympic Theatre as 
Walter Hartwright, on the production of Wilkie Collins's play 
'The Woman in White.' Shortly afterwEuds, during Mr. George 


Vining's illness, Mr. Reeve sustained the part of Fosco in the same 
play, and so satisfactorily, that he has since performed this character 
more than fifteen hundred times in various cities of the United 
Kingdom, Canada, and the United States of America, and more 
recently (1878-9) in the Australian colonies. His performance of 
this part in New York was noticed in the following terms in the 
New York Tribune : — " Mr. Reeve's intellect is, manifestly, of an 
alert order, compact, vital, sympathetic, and fed by a vigorous 
imagination. His voice is fresh and bright ; his individuality is 
unique and pleasing ; his bearing is notably refined and very agree- 
able. He used no stage tricks to entrap attention, but, in a mood 
of quiet power and skilful precision, he embodied the character and 
lived it out through its experience. He had not been five minutes 
on the stage before the presence was felt of an original nature, 
and a dramatic artist of the best school — because the school of 

Mr. Wybert Reeve is a member of the Dramatic Authors' Society. 
He has written, among other pieces, ' Never Reckon Your Chickens, 
&c.,' a farce performed at the Olympic Theatre, and received with 
much favour ; ' Parted,' a four-act comedy-drama ; ' The Better 
Angel,' a four-act play, and a piece entitled ' I Love You '; and he 
has also produced dramatizations of ' George Geith ' and ' No 
Name,' the latter made at the request of Mr. Wilkie Collins. 

*RICHARDS, CICELY. Since January 1875, when Miss 
Richards assumed the character of Belinda in ' Our Boys,' she has 
continued a member of the company of the Vaudeville Theatre. 
She appeared there in a subordinate part in ' The Girls,' April 19, 
1879, and through the run of that piece, till the revival in Septem- 
ber of ' The Two Roses,' when she essayed the part of Mrs. Cnpps. 

RIGHTON, EDWARD CORRIE, had earned a high reputa- 
tion in the provinces as an actor previous to his ddbut in London, 
which took place, Wednesday, January 25, 1 871, at the Royal Court 
Theatre. The occasion was the opening of that theatre under 
Miss Litton's management ; and in the principal piece of the even- 
ing, an original comedy by W. S. Gilbert entitled ' Randall's 
Thumb,' Mr. Righton played Joe Bangles, and created a very 
favourable impression. After a few months he was elected 
manager of the Court Theatre, a position which he held for two 
years. During his engagement there he appeared in the following 
"original" parts, viz. Joe Gargery in 'Great Expectations' ; Boom- 
blehardt in ' Creatures of Impulse '; Isaac of York m a burlesque on 
Sir W. Scott's novel of ' Ivanhoe ' entitled ' In re-Becca ' ; Lutin 
in the burlesque of 'The Happy Land'; Richelieu in burlesque 
'Richelieu Redressed'; ^?«Mo«>' 7><W,'Tale of aTub'; Weathersby 
Grandison in ' Divorce Case ' ; Sir Philander Rose, ' Hot Water'; 
Wackford Squeers in ' Dotheboys Hall'; Mr. Salmon, 'About 
Town ' ; and as ' the bewitched bard Bracy ' in the burlesque of 
' Christabelle,' in which Mr. Righton very cleverly caricatured a 
distinguished living tragedian : " The acting all through this scene 


was passionate and intense, and it was difficult to separate the fun 
from the real thing. On no former occasion has Mr. Righton 
so thoroughly proved that any comparison between hmi and Mr. 
Robson was not a ridiculous compliment. He does not perhaps 
suggest Mr. Robson in his best days, but it is not an ignoble 
.feather in his cap to suggest Mr. Robson. Another mutation 
by Mr. Righton of a totally different kind, quite apart from the 
Mathias travestie, but showing the versatility and humour of the 
actor, is given in one of the comic dances, in which Mr. Righton 
suggests, amidst the roars of the audience, the extravagant bound- 
ings and the irrepressible elasticity of Mdlle. Sara, the Philharmonic 
dancer. This is really wonderfully clever. Without any petticoat 
of course, and without any female habiliments whatever, Mr. 
Righton is for the minute the famous Mdlle. Sara. The sudden 
plunge up of the leg, the strut, the panting desire to be at it again, 
the restlessness, and the little tricks and affectations of this well- 
known dancer are reproduced with the greatest accuracy. All this, 
we repeat, is burlesque acting. It is worth going to see, and 
deserves to be talked about. Far indeed is it removed from 
the tedious insipidity, the everlasting breakdown, the music-hall 
topical song, and the never-ending sameness of modern burlesque." 
{Observer, May 19, 1872.) 

Among other characters which have been performed by Mr. 
Righton the following are deserving of notice, viz. Bob in ' Old 
Heads and Young Hearts ' ; Major Shoreshot in a farcical comedy 
entitled ' Flirtation ' ; Dogberry in ' Much Ado About Nothing,' 
played at the Olympic Theatre, London ; Touchstone in ' As You 
Like It,' played at Drury Lane Theatre ; Tony Lumpkin in ' She 
Stoops to Conquer,' played at the Globe Theatre ; Bob Acres in 
' The Rivals,' played at the same theatre, of which he was for a 
time lessee (1877-8). During the period of his management there 
he produced the two following comedies, which subsequently became 
very popular — " Stolen Kisses ' and ' Dearer than Life.' Since 
leaving the Globe Theatre, Mr. Righton has appeared with con- 
siderable success in Manchester, Dublin, and other places. 

RIGNOLD, GEORGE, brother of the undermentioned William 
Rignold, became connected with the stage in boyhood, and was for 
several years at the Bath and Bristol Theatres. He first attracted 
notice on the London stage by his praiseworthy performances 
-in 1870 and two following years at the Queen's Theatre, where 
he first appeared as Sir John Brydges in "Twixt Axe and 
Crown,' and subsequently as Father Isatnbard in Tom Taylor's 
drama ' Joan of Arc,' Wenzel in W. G. Wills's drama of ' Hinko,' 
&c. During 1872 at that theatre he successively sustained the 
part of Posthumus in a revival of ' Cymbeline,' of Icilius in a 
revival of ' Virginius ' ; oi M. TMophile Ferron in Richard Lee's 
original comedy ' Ordeal by Touch ; ' of Romeo in a levival of 
' Romeo and Juliet;' and, lastly, oi Amos Clark in Watts Phillips's 
drama of that name. He has twice visited Australia and the 
United States, in both of which countries he has been very 


successful, and has largely added to his reputation by his interesting 
impersonation of the character of 'Henry V.' 

* RIGNOLD, SUSAN, sister of the above and under-mentioned 
George and William Rignold. 

Leicester, December 8, 1836, and first appeared on the stage in 
his fourth year at the Redditch Theatre in a " Benefit " performance 
for his mother, who was " starring " there during the vacation at the 
Theatre Royal, Birmingham. Mr. (then " Master ") William Rignold 
danced a sailor's hornpipe, and Mr. Alfred Mellon was good enough 
to go over from Birmingham to lead the band on the occasion. 
Mr. Rignold appeared on the stage as a dancer and in pantomime 
during his boyhood ; and in 1 846, at Newcastle, played the part of 
Franco in ' Guy Mannering,' with Miss Cushman in her great part 
of Meg Merrilies. Afterwards he studied music, and took his first 
lessons on the violin from Mr. Coppin, father of the Australian 
manager. William Rignold entered the orchestra in 1850 at the 
Queen's Theatre, Hull. In 1855 he was repetiteur at New Theatre, 
Sheffield, under the management of Mr. Charles Dillon. In 1856 
Mr. Rignold happened to be " sent to Limerick by Henry Webb to 
lead the band for ' Rob Roy,' Sir William Don playing the Baillie. 
The ' heavy gentleman ' lost the train, and I played Rashleigh and 
led the orchestra as well, without being discovered by the crowded 
audience. This performance made such an impression that all my 
friends persuaded me to take to the stage ; so I left my much- 
loved violin, and, in 1857, 'opened' at the Amphitheatre, Liver- 
pool, under Mr. Copeland, as ' general utility.' At the end of three 
years I had played the entire round of ' heavy business.' 1 had 
the good fortune in many of Mr. Webster's parts to please Celeste, 
who offered to make me an opening in London. I still practised 
the violin, hoping the day might come when I should appear as a 
soloist."* In i860 Mr. Rignold was acting at the Bath and Bristol 
Theatres Royal as "high comedian"; second season "juvenile lead"; 
third and fourth seasons " entire lead." In 1865 he entered into an 
engagement with the management of the Theatre Royal, Dublin, 
and played " lead " there for four seasons. In 1869-70 he was play- 
ing at the Princess's Theatre, London, where he made his debut on 
the metropolitan stage, February 15, 1869, as Count de'Fersen, in 
Palgrave Simpson's ' Marie Antoinette.' Since that time he has in 
the metropolis fulfilled engagements at the Adelphi, Gaiety, and 
Olympic Theatres, &c. Mr.W.Rignold is at present (November 1879) 
engaged at the Princess's Theatre, performing in ' Drink,' a version 
by Charles Reade of a French play founded on M. Zola's ' L'Assom- 
moir.' In the English version Mr. W. Rignold " created " the part 
of Goujet, one of the most successful impersonations in the piece. 
It is interesting to notice that his acting attracted the attention of 
M. Francisque Sarcey during that gentleman's visit to London in 
May 1879. In a letter to the writer of the interesting notes on 

* Letter from Mr. W. Rignold to the Editor. 


" The Theatres," published weekly in the Daily News (July r, 1879), 
that admirable dramatic critic writes : " The artist who ^\2.y% Gueule 
d'Or [a sobriquet of Goujef\ impressed me by the smiple truth of 
his acting. He has a ' good-bye 'that brings tears mto the eyes." 

ROBSON, E. M., born in London, January 12, 1855; nephew 
of the distinguished comedian the late F. Robson. He first dis- 
covered a partiality for a dramatic career through being permitted 
to play one of the children in the burlesque of ' Medea,' with his 
uncle, during that admirable actor's last " starring " tour m Ireland. 
His first professional engagement was (1871) at the Elgin Theatre, 
under Mr. Edward Price's management. He. has since played at 
the leading provincial theatres, notably in Edinburgh, Liverpool, 
and Birmingham, several of the late Mr. F. Robson's more im- 
portant conceptions. Mr. E. M. Robson made his first appearance 
on the London stage at the Aquarium Theatre, August 3, 1878, in 
the part of Captain Spooneysoft, in a piece entitled ' That's Why 
She Loved Him.' 


RORKE, MARY, was born in Westminster, and entered the 
dramatic profession in Mr. Charles Wyndham's company playing 
at the Crystal Palace, Sydenham, in 1874. She was also tem- 
porarily engaged at the Croydon Theatre under Mr. Charles Kelly's 
management in the same year. Miss Rorke made her dibut on the 
London stage at the Mirror Theatre, Holborn, under Mr. Horace 
Wigan's management, in a subordinate part in ' Maids of Honour.' 
Subsequently she was engaged at the T. R. Haymarket, Prince of 
Wales's Theatre, Liverpool, Royal Court and Criterion Theatres, 
London. At the two last named she has appeared in the following 
characters, viz. Clara (' Model of a Wife ') ; Fanny Bunter (' New 
Men and Old Acres ') ; Meg (' Meg's Diversion ') ; Mrs. Dorothy 
Sterry (' Truth '). The last-mentioned play, by Mr. Bronson 
Howard, was produced at the Criterion Theatre January 1879. 

ROSELLE, AMY, was born in London in 1854, and first 
appeared upon the stage in childhood at the Theatre Royal, Exeter, 
acting with her brother, " Master Percy Roselle." Afterwards she 
was engaged at the Cardiff, Swansea, and Plymouth Theatres in 
succession ; and was then engaged by Mr. Sothern to support him 
in the provinces. In 1 87 1 she made her ddbut on the London stage 
at the Haymarket Theatre as Lady Teazle; and in May of that 
year appeared with Mr. Sothern at the same theatre in a comedy 
by H. J. Byron entitled 'An English Gentleman ; or, the Squire's 
Last Shilling.' Having played at the Haymarket until the end of 
the season, Miss Roselle accepted an engagement to play with Mr, 
Sothern in the United States. Returning to London in 1872, in 
September of that year she was engaged by Mr. Chatterton to sup- 
port the late Mr. Samuel Phelps and Mr. Creswick in Shake- 
spearian parts at the Princess's Theatre. Among the characters 


she there undertook were Portia, Desdemona, Ophelia; and Julie 
de Mortemar (' Richelieu >). Subsequently she performed at the 
Haymarket Theatre (January 3, 1874), Eve Van Brugh in W. S. 
Gilbert's 'Charity.' Saturday, January 16, 1875, first performance 
at the Vaudeville Theatre of H. J. Byron's comedy ' Our Boys,' 
Miss Roselle sustained the part of Mary Melrose. In 1878 she 
was engaged by Mr. and Mrs. Kendal to support them " on tour " 
in ' Diplomacy,' playing the part of Dora. In 1879 she accepted an 
engagement at the Prince of Wales's Theatre, and in January 
appeared there in a revival of ' Caste ' as Esther Ecdes, the part 
originally played by Miss Lydia Foote, and in which Miss Roselle 
proved herself a careful and accomplished actress, and increased 
her professional reputation. 

ROSELLE, JULIA, sister of the above-named Amy Roselle, 
made her first appearance on the stage in the United States in 
1871 as Augusta ('Our American Cousin'), Mr. Sothern in the 
leading character. Returning to England in 1873, Miss Juha 
Roselle played "juvenile leading parts " for three successive seasons 
at Birmingham, Manchester, and Liverpool ; and at Christmas 
1876 made her first appearance on the London stage at Covent 
Garden Theatre. In March 1877 she accepted an engagement at 
the Royal Aquarium Theatre and played the character of Biddy 
(' Great Expectations ') with considerable success. Subsequently 
(1877-8) Miss Juha Roselle was engaged by the management of the 
T. R. Haymarket and played Miss Araminta Brown in * David 
Garrick,' &c. 

ROUSBY, WYBERT, was an actor of considerable provincial 
repute previous to his first appearance on the London stage, which 
took place at the Queen's Theatre, Long Acre, December 19, 1869, 
in the part of Bertuccio (Triboulet) in Tom Taylor's drama ' The 
Fool's Revenge.' " Mr. Rousby, who is a gentleman of rather 
slight figure and proportions, has a face capable of much and 
varied expression, and is evidently well trained in all the business 
of the stage. His voice is good, and his delivery clear and 
resonant. He is a master of the rare art of correct emphasis. He 
knows how to fill up his time on the stage with the restless activity 
proper to the character of the jester, with his misanthropic hatred 
of the frivolous and profligate court of the Duke, his cruel spirit of 
revenge, and his tenderness for the sole object of his affections — 
his daughter, whose existence is the secret of his life. Careful 
elaboration is suggested by every point of Mr. Rousby's acting in 
this part, from the picturesque Mephistophelean attitudes, of which 
he has so great a variety, to the manifold wrinkles of his malignant 
smiles. Indeed the faults of his performance lie on this side, 
though it was not without some of those bursts which at least 
appear spontaneous, and which excite the feelings of the audience 
for that reason. . . . The very completeness of Mr. Rousby's art 
will, no doubt, detract something from the curiosity with which his 
future performances will be looked forward to ; and many of his 



points are undoubtedly traceable more to the school to which his 
style belongs than to the promptings of his own genius." {Daily. 
News, December 22, 1869.) 

Following the above date Mr. Rousby appeared on the London 
stage in those plays of importance first produced at the Queen's 
Theatre in which his wife played the leading rSle. In Mr. Tom. 
Taylor's drama ' 'Twixt Axe and Crown ' he was in the original 
cast as Courtenay; in 'Joan of Arc,' by the same author, he: 
played, on the occasion of its first performance, the part of La 
Hire; and (at the Princess's Theatre) in W. G. Wills's drama. 
'Mary Queen of Scots' the part of Knox. In February 1 87 1 Mr. 
Rousby appeared at the Queen's Theatre as Orlando in a revival 
of 'As You Like It,' Mrs. Rousby playing Rosalind; in April 1873, 
at Drury Lane Theatre, he sustained the part of King Lear in a 
revival of Shakespeare's tragedy, his wife acting Cordelia, Since 
1876 Mr. Rousby has not appeared on the London stage in any 
part requiring notice. 

ROYCE; EDWARD WILLIAM, was bom at Eversholt, Beds, 
August II, 1841, and entered the dramatic profession in the year, 
i860, as an auxiliary at Covent Garden Theatre, in the opera of 
' Un Ballo in Maschera,' having specially studied operatic and 
character dancing. In 1861 he was engaged at the Lyceum 
Theatre, and danced in the "Fair Scene" of Edmund Falconer's 
drama ' Peep o' Day.' Christmas, 1863, at the old Theatre Royal, 
Leeds, he first sustained the part of Harlequin in the pantomime 
of ' The Yellow Dwarf.' Mr. Royce has since played Harlequin 
with great success at theatres at the following principal towns, viz. 
Leeds, York, Sheffield, Hull, Lincoln, Nottingham, Manchester, 
Glasgow, Edinburgh. While playing the character at the York 
Theatre in 1 868 he was happily able to save the life of a httle girl 
of the ballet whose skirts had unfortunately become ignited. For 
this act of bravery he received a testimonial from the Royal Society 
for the Protection of Life from Fire. 

At Leeds Mr. Royce performed the " original " Welch in Charles 
Reade's drama of ' Foul Play,' concerning which the author, in a 
letter to the editor of the Manchester Examiner (June 26, 1868), 
said that " it owed a large share of its success to the talent and 
zeal of the performers, and especially of those who played the 
minor characters." Mr. Royce has been a member of the travelling 
companies of Mr. John Coleman and Captain Disney Roebuck. 
In 1872, at the Prince of Wales's Theatre, Liverpool, he played the 
part of Varney in Halliday's revived burlesque of ' Kenilworth,' 
entitled 'Little Amy Robsart.' The same year, having accepted 
an engagement from the management of the Gaiety Theatre, in 
London, he first appeared at that theatre in September, in the part 
of Whiskerandos in 'The Critic' At the St. James's Theatre,' 
durmg the management of Miss Litton, he played Totn Cobb, first 
performance of W. S. Gilbert's farcical comedy of that title. At 
the Gaiety Theatre he has since played the following original parts, 
viz. Dick Evergreen ('My Awful Dad'}, Derrick ('Young Rip 


Van 'Winkle '), Jos^ (' Little Don C<Esar de Bazan "), Count Smiff 
('The Bohemian Gyurl'), Valentine (' Little Doctor Faust'), Elvino 
('II Sonnambulo '), and Radapolam ('Rajah of Mysore'), &c., &c. 
In 1873 and 1874 Mr. Royce produced the Christmas pantomime 
for the Messrs. Gunn, of the New Gaiety Theatre and Theatre 
Royal, Dublin, and on various occasions he has undertaken the 
responsible duties of stage-manager and master of the ballet. He 
is still (1879) ^ member of the Gaiety company. 

RUSSELL, HOWARD, was born in London, January 6, 1835, 
and entered the dramatic profession in 1858, making his first appear- 
ance in London, September 28, 1867 (having previously studied the 
rudiments of acting in the provinces), at the Victoria Theatre, in 
a drama entitled ' The Sin of a Life.' Subsequently he became 
engaged by Mr. F. B. Chatterton for his theatres, and played 
various characters in the late Andrew Halliday's plays represented 
at Drury Lane, the Princess's, and Adelphi Theatres. He has had 
the advantage of supporting at those theatres some of the leading 
players of the day, including Messrs. Phelps, Fechter, Creswick, 
Anderson, King, Barry Sullivan, Mesdames Helen Faucit, Neilson, 
Herman Vezin, Wallis, Genevieve Ward. Mr. Russell played the 
character of Derrick with efficiency, to the Rip van Winkle of 
Mr. Jefferson, during his last engagement at the Princess's Theatre. 
He has taken leading parts in some of the plays produced at 
the Crystal Palace, notably, Polonius ('Hamlet'), and Phocian 
('Antigone'), the first produced by Mr. Tom Taylor, the second 
under Mr. Wyndham's superintendence ; and has also played the 
character of Claudius, with Mr. Fechter in the title rSle (' Hamlet "), 
at the Princess's Theatre in June 1872. The production of ' The 
Wandering Jew ' at the Adelphi, and revival of the play of ' Uncle 
Tom's Cabin ' at the same theatre, brought Mr. Russell under notice 
of the public as a painstaking and efficient actor. He sustained 
the part of Eros on the occasion of the revival of ' Antony and 
Cleopatra 'at Drury Lane Theatre, in 1876 ; and later (1878) has 
enacted the part of Richard, Duke of Gloucester, with considerable 
success, in a revival of 'Jane Shore ' at the Princess's Theatre. 

*RYDER, JOHN, was born in 1814. He had attracted notice 
as an actor of much promise in the line of legitimate drama 
previous to his being enrolled in Mr. Macready's company, during 
that eminent tragedian's management of Drury Lane Theatre. 
This engagement was the first step in Mr. Ryder's advancement. 
In October 1842, in a revival at that theatre of 'As You Like It,' 
with Messrs. Macready, Anderson, Keeley, Phelps, and Mesdames 
Nisbett, Stirling, and Keeley in the caste, Mr. Ryder played the 
Dtcke. He appeared in most of the plays, original and revivals, 
produced under Mr. Macready's superintendence during his period 
of management. At the Princess's Theatre, October 13, 1845, 
Mr. Macready playing Hamlet, Mr. Ryder sustained the part of 
Claudius. At the same theatre, in the year following, first per- 
formance, 20th March, of ' The King of the Commons ' (White), 

U 2 


Mr. Macready as James V. of Scotland, Mr. Ryder acted the 
character oi Sir Adam Weir of Lachemont. In 1847, on Monday, 
November 22, at the same theatre, in a play by Taylor (abridged by 
Macready), entitled ' Philip Van Artevelde,' Mr. Ryder played Van 
den Bosch; Mr. Macready and Miss Susan Cushman were in the 
cast. In 1850, Monday, January 28, he played CEnarus, first per- 
formance of John Oxenford's version of Corneille's ' Ariadne.' 
When Messrs. Charles Kean and Keeley entered upon the manage- 
ment of the Princess's Theatre, in 1850, Mr. Ryder became a 
member of their company, and on the opening night of their first 
season, Saturday, September 28, appeared as Antonio, in a revival 
of ' Twelfth Night.' He subsequently took part in many of the per- 
formances for which Mr. Charles Kean's administration became 
famous. On Saturday, November 9, 1850, first performance at the 
Princess's of 'The Templar' (A. R. Slous), he sustained the part of 
Ay7ner de la Roche, Grand Master, with much success. 

During 185 1 Mr. Ryder appeared in various Shakespearian plays 
■ at the Princess's Theatre, and in February of that year acted the 
part of Captain Channel, in a revival of Douglas Jerrold's 'Prisoner 
of War.' On February 9, 1852, in a revival of 'King John,' he 
sustained the character of Hubert, a part which he played sub- 
sequently at the same theatre in October 1858. The same year, 
Monday, June 7, first performance of Lovell's play, ' The Trial of 
Love,' at the Princess's, he played Colonel Boswell. In 1853, on 
Monday, February 14, in a revival of ' Macbeth,' Mr. Ryder acted 
the part of Macduff. On Monday, June 13, 1853, Mr. Ryder 
sustained the part of Salamenes, in the grand performance of 
Byron's tragedy, ' Sardanapalus,'- commented upon, at the time, as 
" the one piece of acting in that play on which there could not be 
two opinions in regard to its excellence." In the autumn of 1854 
Mr. Ryder left the Princess's Theatre for a brief period and 
accepted an engagement to lead the " heavy business," supported 
by an efficient company, selected from other metropolitan theatres, 
at the Bower Saloon, Lambeth, under Miss Lydia Pearce's manage- 
ment. As to which engagement it was remarked in a contemporary 
journal that " he and his companions on this despised stage may 
easily find more laudable business to perform than that to which 
he, and others of respectable name, have lately been condemned at 
other establishments. In all probability at the popular saloon the 
higher drama will be preferred." The first week of his engagement, 
commencing Monday, August 21, 1854, Mr. Ryder appeared in three 
different characters : — Macbeth, Othello, and the Stranger. The 
first-mentioned part he had once before performed at the Princess's 
during the temporary indisposition of Mr. Charles Kean, and had 
earned great applause. In October 1854, Mr. Ryder rejoined the 
company of the Princess's Theatre, and reappeared on its stage 
the 9th of that month, as Dymond, first performance of Douglas 
Jerrold's play, ' Heart of Gold.' In January 1855, ' Louis the 
Eleventh,' translated by Dion Boucicault from Casimir Delavigne's 
historical play of that name, was performed at the same theatre, 
Charles Kean as Louis ; Mr. Ryder, Coitier. 


In May of the same year, in a revival at the Princess's Theatre of 
' Henry the Eighth,' on an unexampled scale of grandeur, Mr. Ryder 
sustained the part of Buckingham, and was grand and imposing. 
" His first scene was marked with laudable care, and his final address 
to the spectators of his execution was a fine example of oratorical 
speaking, and might be consulted as a lesson by those to whom 
eloquence is a mission." {Athenceum, May 19, 1855.) On April 28, 
1856, still at the Princess's Theatre, he appeared as Polixenes, in a 
sumptuous revival of ' A Winter's Tale ' ; and the following year. 
May 12, as Bolingbroke, in 'Richard the Second,' and July i, as 
Caliban, in ' The Tempest.' On April 17, 1858, he acted the 
character of Edgar in a revival of 'King Lear'; and in 1859, 
Williams, on the production of ' Henry the Fifth.' When 
Mr. Kean retired from the management of the Princess's Theatre 
in August 1859, Mr. Ryder remained a mem'oer of its company with 
Mr. Kean's successor, Mr. Augustus Harris. 

On Wednesday, November 2, 1859, Mr. Ryder played at the 
Princess's the part of Giovanni Orseolo, first performance of Edmund 
Falconer's drama ' The Outlaws of the Adriatic' On Saturday, 
September 28, 1861, first performance in England of Brougham's 
' Playing with Fire,' he acted the character of Timothy Crabstick. The 
same year, during the first engagement at the Princess's Theatre 
of Mr.' Fechter, Mr. Ryder played lago to that gentleman's Othello. 

The Times (October 24, i86i) noticed this performance as 
follows : — " Mr. Ryder's lago, Mephistophelean in appearance, 
quick in thought, picturesque in gesticulation, is probably a creation 
of Mr. Fechter's, inasmuch as it could scarcely have emanated from 
a veteran of the London stage. It was admirably fresh and finished, 
and the disciple, for such we presume he is, has this advantage over 
the preceptor, that he is able to give the old-fashioned Enghsh 
weight to his language. Pie is placed in a new position by the 
pecuhar interpretation given by Mr. Fechter to the concluding 
speech of the play. Othello, instead of allowing lago to retire, 
drags him towards the bed, and compels him to kneel before the 
murdered Desdemona. When he draws his dagger, all suppose that 
the author of mischief will be the victim, and the suicide therefore 
occasions more than usual surprise." 

In the following year, March 3, Mr. Ryder played Othello and 
Mr. Fechter lago. In November i86i, at the Princess's, Mr. Ryder 
acted the part of Falstaff in a revival of ' The Merry Wives of 
Windsor." Said the Athenaum (November 30, 1861) : "Mr. Ryder 
has certain advantages of figure for the assumption, and though he 
lacks the unction which would be shown by a humorous actor, 
presents an outline that is at once intelligent and effective. He 
makes the most of the text, and throws the entire force of his con- 
ception into the character. The whole is evidently the effect of 
much study on the part of the actor, and is therefore the more 
deserving of special notice. What he has thoroughly thought out 
in the closet, he carefully depicts on the stage. The knightly 
Qualifications of the jovial wassailer he marks with capital discri- 
mination, while he sohcitously softens the grosser features." 


In 1862, February 10, at the same theatre, Mr. Ryder played 
Jaques, in a revival of ' As You Like It.' The same year, at Drury 
Lane Theatre, first performance of Boucicault's play, ' The Relief of 
Lucknow,' he sustained the part of the Rajah Gholam Bahadoor. 
The following year, Monday, January 26, at the Theatre Royal, 
Westminster (Astley's), under Mr. Boucicault's management, first 
performance of that author's version of ' The Heart of Midlothian,' 
Mr. Ryder sustained the character oi David Deans. At Drufy Lane, 
Saturday, October 10, 1863, revival of 'Manfred' by Mr. Samuel 
Phelps, Mr. Ryder acted the part of the Abbot of St. Maurice. He 
played in various parts at the Lyceum during Mr. Fechter's 
management of that theatre, 1863-7, and has since appeared as a 
" star " actor in London and the provinces. His latest (October 
1878) appearances of importance on the metropolitan stage have 
been at Drury Lane Theatre in ' A Winter's Tale ' and ' Macbeth.' 


SANGER, RACHEL MARY, was born in London. As a child 
she appeared on the stage (the Olympic) in 185 1 in a dramatic 
version of ' Uncle Tom's Cabin.' After a considerable period of 
study and practice in the provinces she made her professional 
ddbut in London at the opening of the Bijou Theatre (Highbury) 
in the part of Ernani in the late W. Brough's burlesque of that 
title. She was engaged for the two succeeding annual pantomimes 
at Covent Garden — ' Aladdin,' and ' The Forty Thieves,' and after- 
wards became a member of Miss Herbert's company when that 
lady was lessee of St. James's Theatre. {See Herbert.) At the 
•Princess's Theatre Miss Sanger played Lucy Fairweather in a 
revival of ' The Streets of London ' ; and, during the temporary 
indisposition of Mrs. Boucicault, the part of Arrah in ' Arrah-na- 
Pogue.' {See Boucicault.) Having at Liverpool originally acted 
the part of Lina in Mr. T. W. Robertson's 'Dreams,' she was 
chosen by the author to play the same part on the production of 
this piece at the Gaiety Theatre in London, In July 1870, in a 
revival at the Olympic Theatre of ' Little Em'ly,' Miss Sanger 
played the heroine. Subsequently she accepted a position as 
" leading " lady at the Amphitheatre, Liverpool, and there played 
the opposite parts to Mr. Barry Sullivan, in this respect developing 
unexpected dramatic resources. Under Mr. Alexander Henderson's 
management, at the Globe Theatre, London, she was the original 
Fatima in ' Blue Beard ' (Farnie) produced there at Christmas 
1874. At the same theatre she played Lady Isabel in a revival of 
' East Lynne' ; and at the Adelphi Theatre, Mabel Truegold in a 
revival of ' True to the Core.' At the Strand in 1878 Miss Sanger 
played the leading r6le in the burlesque ' Diplunacy.' More 
recently (1879) she has been engaged at the Gaiety Theatre, Dublin, 
where she created the part of Annie in a play entitled ' Pair o' 
Wings ' (Paul Meritt and E. Righton). 

SANTLEY, KATE, had earned some success in London as a 
public singer previous to her adopting the stage as a profession. 
She made her d^but as an actress at Edinburgh, and there, on the 
occasion of a " starring " visit of the late Charles Kean, played 
Jessica to his Shylock. She made her first appearance on the 
London stage at the Queen's Theatre in a burlesque on the well- 
known drama of 'The Stranger.' Afterwards Miss Santley accepted 
engagements at the Drury Lane and Strand Theatres, and then made 
a professional tour through the chief cities of the United States. 
-Miss Santley's rentr^e on the metropolitan boards at the Alhambra 
Theatre in 1872, when she assumed the character of Cunegonde in 
' Le Roi Carotte,' was very successful. Since that time she has 
enacted principal parts in many of the opera-bouffes produced in 
London which have attained popularity, notably in ' La Belle 
H^ltee,' ' Don Juan,' ' La Jolie Parfumeuse,' and ' La Marjolaine.' 
-In 1877-8 Miss Kate Santley undertook the management of the 


New Royalty Theatre for a season, but relinquished it to fulfil 
various engagements at the principal theatres in the provinces. In 
April 1879, she commenced an engagement at the Globe Theatre, 
London, and played the leading female role in ' Les Cloches de 

SAUNDERS, CHARLOTTE, was born in London. She began 
her professional career in childhood, and first appeared on the 
stage in May 1833 at Wakefield (Yorkshire), in the part oi Duke of 
York in Shakespeare's ' Richard III.' Afterwards she acted many 
children's parts— T"/^* Spoiled Child, The Climbing Boy, Oliver 
Twist, &c., and first attracted notice in the profession by her 
admirable rendering of the part of Tilly Slowboy, on the occasion 
of the opening of the Theatre Royal, Manchester, in January 1846. 
Noticing this performance the Manchester Guardian (Januarj- 4, 
1846) said: — "How shall we limit our eulogistic and side-aching 
admiration of the extraordinary performance of Tilly Slowboy by 
Miss Charlotte Saunders who has most certainly made the part 
her own ? Miss Turner is stated to have realized the part to per- 
fection in London, but some persons who have seen both award 
the palm to Miss Saunders. Certainly it is difficult to conceive 
anything more exquisitely in the spirit of the original than the 
acting of Miss Saunders throughout. Her fondling of the baby, 
her slovenly dress and awkward motions, her begrimed face and 
vacant, open-mouthed stare, are altogether in the richest resem- 
blance to the Tilly of Mr. Charles Dickens. Her by-play is really 
admirable ; she is never perfectly quiet ; always doing some- 
thing perfectly in character, and thus keeping up the true action of 
the piece. Her scalding her mouth with hot potato while rocking 
the cradle with her foot; her exclamations at not being able to 
make the guest hear; her delight at the wedding-cake; her joy at 
receiving from Gruff and Jackleton his wedding-ring to put in the 
fire, but resolving to keep it till she wants it herself; and lastly, 
her unique dancing in the finale, formed a succession of tableaux, 
inimitable in their exquisitely grotesque and truly laughable breadth 
of humour." After some years' practice in Liverpool, Manchester, 
Birmingham (where she ^\z>j^d, Albert to Mr. Macready's William 
Tell in a way which secured high commendation from that distin- 
guished tragedian), Glasgow, and Edinburgh, Miss Saunders made 
her first appearance on the London stage at the Marylebone 
Theatre under Mrs. Warner's management in August 1847 as 
Mopsa in 'A Winter's Tale.' Miss Saunders also performed here 
the well-known rdle of Guy Fawkes in Albert Smith's most amusing 
burlesque of that title. Afterwards, at the Princess's Theatre, in 
October 1849, she appeared in the original performance of 'The 
First Night' (adapted from the French ' Le P^re de la Debutante'), 
in which Mr. Alfred Wigan made such a success as Dufard. 
Criticizing her acting of a part in a farce at the early period of her 
career, the Morning Post (January 30, 1849) speaks of her as "a 
rapidly rising actress who will take the lead in the soubrettes." In 
December 1851, Miss Saunders reappeared in London at the Strand 


Theatre (then Punch's Playhouse), under Mr. Copeland's manage- 
ment, as the " original " Chang in Francis Talfourd's burlesque of 
' The Willow-pattern Plate.' Having completed her engagement 
here in 1852 she returned to the provinces, and, in conjunction with 
that inimitable actor the late F. Robson, became a great favourite 
at the Theatre Royal, DubUn. At this -time Miss Saunders was 
acting what were then known as ' the Vestris parts ' in Planch^'s 
burlesque extravaganzas, and in which she gained considerable 
reputation. In December 1858 she was once again engaged at the 
Strand Theatre, and appeared there in the following among other 
pieces, viz. in Halliday and Lawrence's burlesque of ' Kenilworth' 
(as Tresilian), H. J. Byron's burlesques of ' The Lady of Lyons ' 
(as Claude Melnotte), 'Miller and his Men,' 'Aladdin,' &c., &c. 
In September 1863, at Drury Lane Theatre, Miss Saunders was in 
the " original " cast of Falconer's play, ' Nature above Art.' In the 
following year in December she appeared at St. James's Theatre as 
Hercules in W. Brough's burlesque of ' Hercules and Omphale.' 
Saturday, October 6, 1866, at the Holborn Theatre (the opening 
night), first performance of Boucicault's drama, ' Flying Scud,' Miss 
Saunders played the character of Bob Buckskin the jockey. This 
piece had a long run, and was revived at the same theatre in 1868, 
Miss Saunders in her "original" character. In 1868 she joined 
Miss Oliver's company at the Royalty Theatre, and appeared 
during the following seasons in many original parts in burlesque 
— Billy Taylor in Burnand's burlesque of that name ; Lord Ronald 
in the same author's burlesque ' Claude du Val,' &c., &c. Among 
Miss Saunders' more recent successes her impersonation oi Madame 
Cuichard in the three-act comedy, ' Love and Honour,' founded on 
Dumas the younger's ' Monsieur Alphonse,' is entitled to high 
praise. The English version by Mr. Campbell Clarke was first 
produced by the late Mdlle. Beatrice and her comedy-drama com- 
pany in the provinces, and in August 1875 '"'a-S placed on the stage 
of the Globe Theatre in London. With respect to Miss Saunders' 
acting of the part of Madame Guichard, the Times (August 20, 
1875) remarked as follows : — " Miss Charlotte Saunders, as Madame 
de Guichard, abandons herself to every side of the character with 
surprising facility, and nothing can be better in its way than her 
simulation of the contending feelings with which the innkeeper's 
widow dismisses the adventurer. Altogether, her Madame Guichard 
is one of those portraitures of character which if once seen is not 
to be forgotten." 

SAVILLE, ELIZA HELENA, youngest daughter of the late 
John Faucit Saville, formerly of the Haymarket and Adelphi, and 
afterwards manager of the Nottingham, Sheffield, and other theatres 
in the midland counties, and sister of Miss Kate Saville who was 
an actress of considerable repute on the London stage prior to her 
marriage in 1872. Miss Eliza Saville made her first appearance 
on the stage at a very early age, playing children's parts at 
the Theatre Royal, Nottingham, under her mother's management. 
Having studied and practised at that theatre she was afterwards 


engaged as "leading lady" in Manchester, Sheffield, and Dublin 
(1870-72). In 1873, on tour with Mr. Wybert Reeve's company, 
she acted " with power and abihty " the part of Marian Halcombe 
in ' The Woman in White,' adapted by Mr. Reeve from Mr. Wilkie 
CoUins's novel of that name. During 1874-5 she fulfilled several 
short special engagements in the provinces. In May 1878, at the 
request of the late Mdlle. Beatrice, she undertook the title rdle in 
' The Woman of the People,' and sustained that and other leading 
parts of the ripertoire of the Beatrice company up to the close of 
the year. In the spring of 1879 ^^e rejoined that company under 
Mr. Frank Harvey's management; and, on Easter Monday (April 14) 
of the same year, made a very successful dibut in London at the 
Olympic Theatre in the r6le and play last mentioned (' Woman of 
the People '). 

SAVILLE, KATE, sister of the above-mentioned EUza Helena 
Saville, made her first appearance on the London stage September 
24, 1859, at the Princess's Theatre, as Camilla Wiley in ' Ivy Hall,' 
adapted by John Oxenford from the French ' Le Roman d'un Jeune 
Homme Pauvre'of Octave Feuillet. On Monday, January 30, of 
the following year she acted the part of Lucie Manette, first per- 
formance at the Lyceum of ' The Tale of Two Cities,' one of the 
most important of Madame Celeste's productions when she had 
the management of that theatre. Miss Kate Saville was likewise 
in the original cast of another of the plays produced there by the 
same lady, namely, ' The House on the Bridge of Notre Dame,' in 
which Miss Saville sustained the part oi Milaine de St. Ange. In 
the two following years she was engaged at the Olympic Theatre, 
where she " created " the part of Martha Gibbs in Tom Taylor's 
'All that Glitters is not Gold'; of Lady Camilla Hailstone in 
Watts Phillips's play, ' Camilla's Husband '; and May Edwards in 
Tom Taylor's ' Ticket of Leave Man.' At the Strand Theatre, in 
October 1863, Miss Saville played the leading rdle, first performance 
of H. T. Craven's ' Miriam's Crime.' In the following year, on 
February 15, at the Princess's Theatre, she acted the character of 
Beatrice, first performance of Watts Phillips's comedy, ' Paul's 
Return.' On Monday, April 2, 1866, at the Haymarket Theatre, 
she played, at the first performance in London of Wesdand Mar- 
ston's comedy entitled ' The Favourite of Fortune,' the part of 
Hester Lorrington. In the same year, September 8, first per^ 
formance at the Surrey Theatre of " the T. P. Cooke prize drama," 
by A. R. Slous, entitled ' True to the Core,' she acted the leading 
female role, Mrs. Truegold. Miss Kate Saville has also acted with 
great success in the provinces. She retired from the stage on her 
marriage in 1872. 

SCOTT-SIDDONS, MARY FRANCES, great-grand-daughter 
of the famous actress Sarah Siddons, one of whose three sons, 
George, held a high civil appointment in India. A son of George 
Siddons, Captain William Siddons, 35th Bengal Native Infantry, 
married the daughter of Lieut.-Colonel Earle; and of this marriage 


came Mary Frances Scott-Siddons, the subject of this record. 
She first appeared on the stage at Edinburgh as Juliet in the 
early part of 1866. In the year following, in London, she gave 
public readings at the Hanover Square Rooms from Shakespeare's 
plays. She made her dibut on the metropolitan stage, Monday, 
April 8, of the same year, at the Haymarket Theatre, in the 
character oi Rosalind ('As You Like It '). This performance was 
thus noticed in the Daily Telegraph (April 10, 1867):— "Thg 
favourable opinion of the histrionic qualifications of Mrs. Scott- 
Siddons formed by the distinguished auditory who listened last 
week with so much satisfaction to that lady's Shakespearian 
readings at the Hanover Square Rooms, was on Monday evening 
fully confirmed by a fashionable and crowded audience, assembled 
to witness her dibut on the metropohtan stage as Rosalind. A 
lady who can boast of a direct descent from the most illustrious of 
our actresses, comes accredited with the strongest recommendation 
to all who hold in reverence the names which adorn our Thespian 
annals ; but Mrs. Scott-Siddons has a fair claim to theatrical dis- 
tinction apart from hereditary honours. Well-trained in the busi- 
ness of the stage through a course of provincial practice, there is 
nothing in the dSutante which betrays the inexperience of the 
novice. Possessed of a fine expressive face, which may be called 
classical in its profile, and endowed with the advantages of a neat 
symmetrical figure, Mrs. Scott-Siddons effectively supplies the 
external requisites for this most fascinating of Shakespeare's 
heroines. Her delivery of the text, on which she has manifestly 
bestowed much thoughtful study, is characterized by earnestness 
and intelligence, and her action is appropriate and unrestrained. 
Judging by the enthusiastic plaudits so frequently bestowed through 
the evening, her performance would seem to have exceeded the 
most sanguine expectations her friends had entertained ; but the 
good sense of the actress may be safely trusted to discriminate 
between the liberal applause which is intended to encourage a 
young aspirant, and a fervent spontaneous acknowledgment of a 
great triumph fairly won in the world of art. It is when Rosalind 
dons the doublet and hose that Mrs. Scott-Siddons gives her 
impulses full play; and the bantering of Orlando in the forest and the 
vivacious raillery of the imitative wooing were as effective as could 
be desired. That the young actress who has been received with so 
warm a welcome is deservedly entitled to the highest position on 
the metropolitan boards, it would be too much to affirm ; but Mrs. 
Scott-Siddons is unquestionably a valuable acquisition to any 
theatre in which comedy is performed, and there may be latent 
powers which only need time and opportunity to favourably 

The Daily News (April 9, 1867) expressed the opinion that 
" Mrs. Scott-Siddons's neat figure, pretty face, and pleasing arch 
delivery, qualified her for light comedy, and her ease, confidence, 
and freedom of gesture showed that she had an aptitude for acting. 
Her reading of Rosalind was saucy and attractive. She lacked 
the grand air of the tragedienne, which is not always an agreeable 

300 THE DRAMATIC list: 

air, and many persons, missing this, will vote her unequal to the 
embodiment of Shakespeare's lighter heroines. Her reception last 
night by a friendly audience will doubtless encourage her to adopt 
the stage as a profession, and her sprighthness and evident intelli- 
gence will make her path easy. Her future will depend upon her- 
self, her capacity for instruction, and the discretion of her advisers. 
If she is not exactly the shining star we were led to expect, she is a 
very lively and promising actress, who may be as easily spoilt as 
improved." On Monday, September 2 of the same year, Mrs. 
Scott-Siddons reappeared at the Haymarket in the same character. 
In the autumn of 1868 she made her first professional appearance 
in America, giving readings at Steinway Hall, New York, from 
' Macbeth ' and ' As You Like It.' Subsequently, Mrs. Scott- 
Siddons entered upon an engagement at the Fifth Avenue Theatre 
in the same city. After a long absence from London she entered 
upon a brief engagement at the Haymarket Theatre in 1870, 
reappearing there on Monday, July 1 1 of that year, as Pauline in 
' The Lady of Lyons,' and, during the same month, acting the part 
of the heroine in Dance's comedietta ' Delicate Ground.' Mrs, 
Scott-Siddons's next appearance of importance in London took 
place on Saturday, May 4, 1872, at the Queen's Theatre, on which 
occasion, "in the first original piece in which she had ever acted," 
viz. ' Ordeal by Touch' (Richard Lee), she played the part of 
Coralie. The piece was not a satisfactory success. Following the 
last-mentioned date Mrs. Scott-Siddons was engaged on a "starring" 
tour in the United States and Australia. In 1879, on Saturday, 
June 21, she reappeared on the London stage at the Olympic 
Theatre for the benefit of George Coleman, and recited two lyrical 

SEDGWICK, AMY (Mrs. Goostry), was born in 1835. She 
had acquired reputation as an actress and much stage experience 
in the provinces previous to her first appearance on the London 
stage, which took place Monday, October 5, 1857, at the Hay- 
market Theatre. The character chosen by Miss Sedgwick for her 
debut, which was most successfid, was Pauline in 'The Lady of 
Lyon's.' The Spectator (October 10, 1857) noticing the perform- 
ance said : " This week we have had a dibut of more than ordinary 
promise. Miss Sedgwick, an actress well-known in the northern 
counties, has made her appearance as Pauline in ' The Lady of 
Lyons.' The intelligence that she displays is no rare qualification, 
for most of the new candidates for public favour who have lately 
solicited applause, have shown that they tolerably well understand 
the meaning of the part undertaken. It is in passing from the 
conception to the execution that a difficulty has been found, and as 
our recent debutantes have not been of the audacious kind, the 
difficulty has been revealed, not by desperate leaps over the Umits 
prescribed by Nature, but by a timid unwillingness to use the length 
of tether which Nature liberally accords. Now Miss Sedgwick 
acts not only with propriety, but with force ; she makes her words 
and gestures tell, and, though in a quiet manner, marks out her 


character thoroughly. We suspect she is an actress whose progress 
will be worth watching." 

The week following, on Tuesday, October 13, she acted the 
character of Constance in ' The Love Chase,' as to which the 
Athenaum (October 17, 1857) remarked; "Miss Sedgwick is not 
without qualifications for the part, and her assumption of it has 
proved that her natural attributes belong to the comic rather than 
the tragic art, and that in the former she can display vigour and 
feeling, as well as the possession of stage artifices. It was needful 
to show this. . . . With a full intelligence of the character and its 
conditions, Miss Sedgwick trusted to her native vigour for filling 
up the usual theatrical outline, and impressed the audience with 
the opinion that she acted -meW. She must get beyond this point 
and render them unconscious that she is acting at all, while 
realizing all the points of character with the utmost elaboration." 

On Saturday, November 7, 1857, first performance at the Hay- 
market of Mr. Tom Taylor's comedy, ' The Unequal Match,' Miss 
Sedgwick sustained the part of Hester Grazebrook, afterwards, in 
the play. Lady Arncliff. This according to Prof. Morley (Diary of 
a London Playgoer, p. 198), was Miss Sedgwick's first appearance 
here in a part for the acting of which she was without help from 
traditions of the stage. " Her success was great and it was fairly 
earned." The play met with a most unequivocal success. " Al- 
though flat in some of its earlier parts, and weighted with two or 
three very uninteresting minor charaqters, it is, on the whole, 
spirited and entertaining, and the last ik( the three acts is new, 
amusing, and lively. The plot turns on the history of a black- 
smith's daughter, who marries a baronet and disgusts her husband 
by her inaptitude for fine society, and finally, learning the lesson he 
wishes her to acquire, disgusts him still more by the change in her 
manners, her principles, and her feelings. At the end she throws 
off the mask of affectation, and having convinced her husband that 
simplicity is best, shows that she is simple still. This is the 
moral of the ' Unequal Match.' But another sense is also given 
to the words. There is a hollow-hearted coquette, who has once 
rejected the baronet before he came to his honours and his wealth, 
who sneers at his humble choice, and determines to win back the 
heart she has once had offered her. She succeeds so far as to 
entangle her old lover in a desperate flirtation, but in the end the 
wife makes her husband feel the superiority of honest affection and 
genuine worth, and the coquette is discovered to have entered on 
an ' Unequal Match.' . . . Miss Amy Sedgwick played Lady 
Arncliff. It is a difficult part to play, as she had to sustain three 
characters so different as those of a village maiden, a bride 
frightened by her guests, and a fine lady triumphing over a rival. 
She shows herself quite equal to the task she has undertaken, and 
acts throughout with an evenness of success which proves that her 
merits are many and high. There is not, we think, any very great 
promise in her performance ; she will not console veteran playgoers 
for the loss of their old favourites, but she is a very useful accession to 
the strength of the London stage." {Saturday Review, November 14, 


1857.) Another contemporary (the Times, November 9, 1857),. 
discussing the merits of the performance remarks, " The character 
of Hester requires no small ability on the part of the actress who 
sustains it. In the first act she is the pretty rustic, placed amid a 
scene that brings additional lustre to her charms — a village beauty, 
marred by no humiliating contrast. In the second, she is the 
pretty rustic out of place, and not a little petted, but still fond and 
affectionate as ever, until jealousy of Mrs. Montresor converts her 
into an indignant wife. In the third act the rustic is lost altogether 
and we have the woman of fashion, with whom manner is every- 
thing. Now, when we^say that Miss Amy Sedgwick went through 
all these phases in a most satisfactory manner, as if perfectly at 
home in each of them, and marking out each of them as distinctly 
as possible, we give this young and rising actress 'the highest 
commendation.' " 

In February 1858, Miss Sedgwick, after some two months' absence, 
appeared as Beatrice in a revival of ' Much Ado About Nothing ' 
at the Haymarket Theatre. The performance was a very satis- 
factory one, but, said the Daily News (February 23, 1858), "the 
ars celare artem is still the one thing requisite ; a little less artificial, 
a little less stagey in look, voice, and feature, and Miss Sedgwick 
would be the best high-class comedy actress on the boards." The 
author of The Diary of a London Playgoer records the following 
opinion under date February 27, 1858, Haymarket: — "Beatrice, 
in ' Much Ado About Nothing,' is not one of Miss Amy Sedgwick's- 
best characters. In the earlier scenes the stage laugh is too forced 
and too frequent, but in the latter scenes she succeeds better. . .-., 
Miss Sedgwick shows in Beatrice behind the mask of a gay 
mockery the gentle spirit of a woman. In the garden scene, after 
listening to Hero and Ursula, she shows that her heart had not 
been filled with a new thought, but only opened, — 

' For others say thou dost deserve ; and I 
Believe it better than reportingly.' 

Miss Sedgwick's Beatrice is in fact hearty in her love as in her 
mirth, and that is right. The distinct representing of this is the 
best feature in her performance." 

At the same theatre, in the following month, she sustained the 
part of Julia, in ' The Hunchback,' and " still further strengthened 
her position with the theatrical public. When so many ephemeral 
successes take place, when an apparent triumph in one character 
is commonly followed by mere toleration in another, it is a great 
distinction on the part of Miss Sedgwick that she never loses 
ground. Her Constance and her Julia have more than confirmed 
the favourable impression made by her Pauline, to say nothing of 
the efficient support she gave to Mr. Tom Taylor's last new work, 
' The Unequal Match.' After a close observation of her Julia we 
should say that the more tender side of this varied character is the 
most completely depicted. Of the indignation with which she listens 
to Helen's sneers at the fallen Sir Thomas, of the many passionate 


passages at the commencement of the third act, and even during 
the interview with Clifford, more might be made. There is an 
absence of that thorough abandonment to the feeUng of the moment 
that can render Julia one of the most powerful characters of the 
modern drama. On the other hand, the softer emotions are 
adequately expressed. The lingering look at the shreds of the torn 
letter, the gentle appeals to Clifford's memory of a past affection, 
are exceedingly pretty and natural. During the interview with 
Master Walter in the fifth act she moreover attains a degree of 
power that could scarcely be anticipated in the acts preceding ; 
and the commanding position which she assumes in respect to her 
guardian as she warns him against the sacrifice of her happiness, 
is extremely well sustained. The whole character is, indeed, most 
creditably represented, and the impression it makes upon the public 
is, to all appearance, genuine." {Times, March 8, 1858.) 

On June 30 and July 7, 1858, Miss Sedgwick performed the part 
of Lady Teazle, in a revival of ' The School for Scandal,' at the 
same theatre, in the presence of a crowded audience, "who listened 
with the most profound attention to the masterpiece of Sheridan, 
and applauded its many admirable points with genuine enthusiasm. 
The excellent qualities which have distinguished Miss Sedgwick's 
recent dramatic experiences in the metropolis — the vivacity and 
intelligence which have marked all her exertions, and the fasci- 
nating and artistic expression which she has at all times so largely 
at command — were plentifully exhibited in her embodiment of 
Lady Teazle. Stately and emphatic in her delivery of the serious 
passages of the text — flight, graceful, and dexterous in the hu- 
morous sallies in which her ladyship indulges — ever equal to 
the situation, and fully adequate to a proper appreciation of the 
author — it may be justly acknowledged that Miss Sedgwick's